魏婷婷
张皓琳
2025 September Artists in Residence
Residency Works Open Day
Edamame and Tangerine Peel
Tingting Wei
Ketty Haolin Zhang
September 27 (Saturday) 16:00, 2025
陈皮与毛豆的组合奇特而耐人寻味。五位驻地艺术家诚邀您前来观赏、品味并感受他们的作品；它们如何交融、相互排斥，如何在自我审视时不断演变。
Janne Berg将竹子、网状物、镜子和颜料编织成脆弱而结构化的装置，有机形态与工业形态在此交汇，探索本能与身份认同如何塑造当代环境。Colin Bottinelli在陶瓷作品上吟诗，唤起蜕变、城市的变迁，以及石头崩塌时记忆的消逝。Merryn Tresidder邀请您通过语言和观察，思考水的变幻色彩。欢迎与他一起在画廊品茗。魏婷婷用贝壳和胶片构建了一个转瞬即逝的生态系统，它们最终会消散，试图捕捉风，保存资源，并最终释放它们。张皓琳运用蟋蟀笼、小幅画作、锁链以及晾晒的苦瓜—这些她私密的记忆—来展现爱与占有之间错综复杂的关系。
在上海游历之后，艺术家们开始思考是什么构成了身份认同，哪些情感吞噬着我们，我们与生俱来的框架，以及我们如何理解周围的结构。他们运用天然材料、多种传统以及后工业技术，构建了一个关于自身多面性的形象，并与周围无数的河道相呼应。这些作品彼此交织，力求独一无二，却又缓缓地融入一个潮湿的熔炉之中。
校对 – Merryn Ennis Tresidder
Tangerine peel and edamame are a peculiar yet intriguing combination. Five resident artists invite you to see, taste, and feel their works; how they mingle and reject each other, how they evolve when confronted with themselves.
Janne Berg weaves bamboo, mesh, mirrors, and pigments into fragile, structured installations where organic and industrial form converge to explore how instinct and identity shape contemporary environments. Colin Bottinelli writes poems on ceramic pieces to evoke metamorphosis, the transformation of the city, and the disappearance of memories when the stone crumbles. Merryn Tresidder invites you to think about the ever-changing colours of water through language and observation. Join him in the gallery for a cup of tea or three. Tingting Wei forms a fleeting ecosystem of shells and films that will eventually dissipate, trying to catch the wind, to conserve resources, and to let them go. Ketty Haolin Zhang utilizes a cricket cage, small paintings, chains, and drying bitter gourds, her intimate memories, to display the intricate relationship between love and possession.
After wandering around Shanghai, the artists question what builds identity, which feelings devour us, the frames we’re born into, and how we apprehend our surrounding structures. Using natural materials, a multitude of traditions, and post-industrial techniques, they build a multifaceted image of the self with regard to the countless waterways around. Faced together, the works struggle for singularity, yet bubble slowly into a humid melting-pot.
Proofread by Merryn Tresidder
我怀着探索公共乒乓球桌的渴望来到上海，记录家外的社交习惯。当我漫步于这座城市，发现蛛丝马迹时，我发现事情并非我所料。我决定在写作中打开一个开关。《寻找桌子》以诗歌的形式描绘了一个人来到一座陌生城市却无法与人建立联系的故事。正因如此，主人公深陷消费主义的泥沼，以此来应对。最终，这座城市变成了一座购物中心。
我决定将我的诗歌镌刻在陶瓷上，并用它创作不同的作品。地上的碎片是城市中的文字，关于金钱、财富和艺术区的微型诗歌。底座上的书是主人公的故事，悬挂的碎片则讲述着这座城市的物质变迁。我将塑料封面和陶瓷交织在一起，浓缩了我对上海的体验，这座节奏极快的城市，不知疲倦地摧毁和重建着它的房屋、建筑和故事。选择地面、基座和悬挂物，用三幕来讲述一个非常简单的故事：走在城市的文字上，我慢慢地挂起我的皮肤去出售。
I arrived in Shanghai with the desire to explore its public ping-pong tables, to write about social habits outside of a home. As I walked through the city and discovered the evidence, things were not what I expected them to be. I decided to operate a switch in my writing. Looking for a table depicts, in poems, the story of a person arriving in a new city and being unable to create bonds. Because of that failure, the protagonist dives deep into consumerism as a way to cope. In the end, it transforms into a mall.
I decided to engrave my poems on ceramic and build different pieces with it. The fragments on the ground are words found in the city, micro-poems about money, wealth, and the art district. The book on a pedestal is the story of the protagonist, and the hanging pieces talk about its physical transformation. I entangled plastic binding and ceramic to encapsulate what I experienced of Shanghai, an extremely fast-paced city, destroying and rebuilding tirelessly its houses, buildings, and story. The ground, pedestal, and suspension are chosen to tell a really simple narrative in three acts: Walking on the words of the city, I slowly hang my skin to sell it.
陶土，釉，扎带 Clay, glaze, ziptag
18*14*10 cm
2025
Pages
陶土，釉，浴帘环 Clay, glaze, shower rings
Size variable
2025
Fragments
陶土，釉 Clay, glaze
Size variable
2025
Supported by Pro Helvetia Shanghai, the Swiss Arts Council
在上海ACENTRICSPACE驻留期间，Janne Berg创作了两件装置作品，探索本能、感知以及塑造人类行为和我们居住环境的系统。这些作品通过对城市层层空间的观察，将自然与工业元素进行对话，反思有机冲动与构建秩序之间的张力，无论是在建筑、人工景观还是社会结构中。
其中一件装置将竹子与工业材料联系起来，唤起人们对自然如何在设计语境中被呈现、组织和重构的思考。另一件装置将镜子转化为不稳定、移动的表面，反射变得碎片化且无常。
这些装置游走于物质与隐喻之间，探讨环境如何塑造我们与自然的联系，同时反思本能和身份在当代生活的结构化系统中如何展现。
During her residency at ACENTRICSPACE in Shanghai, Janne Berg has developed two installations that explore instinct, perception, and the systems that shape both human behavior and the environments we inhabit. Developed through observation of the city’s layered spaces, the works bring natural and industrial elements into dialogue, reflecting on the tension between organic impulse and constructed order, whether in architecture, cultivated landscapes, or social structures.
One installation brings bamboo into relation with industrial materials, evoking how nature is staged, organized, and reframed within designed contexts. The other transforms mirrors into unstable, shifting surfaces, where reflection becomes fragmented and impermanent.
Together, the installations navigate the space between the physical and the metaphorical, examining how environments shape our connection to nature while reflecting on the ways instinct and identity unfold within the structured systems of contemporary life.
Framework II
综合材料 Oil pastel, ink, spray paint, mesh on mirror plates
Size variable
2025
Framework I
综合材料 Bamboo, spray paint, wire, mesh, ping pong balls
330 × 50 × 50 cm
2025
工作照 Studio shot
在Tresidders驻地期间，星河湾学校的学生和ACENTRICSPACE咖啡馆的常客们受邀思考他们与当地水道的关系。每个人都在回收的茶叶包装纸上写下一个汉字，代表他们所见的最后一片水的颜色。这件装置和表演源于语言、色彩、水和茶之间的对话。
这件作品探索了不同文化如何命名和感知颜色—尤其是水的变幻色调。艺术家以泡茶作为对话的工具，邀请您参观展览品茶，并参与一场关于水色的持续对话。首批与艺术家一起品茶的18位嘉宾也将为最终作品做出贡献。
During Tresidders residency, Starriver students and ACENTRICSPACE café goers were invited to consider their own relationships with local waterways. Each wrote a Chinese character for the colour of the last body of water they saw, inscribed on recycled tea wrappers. This installation and performance grew from a dialogue between language, colour, water, and tea.
The work explores how different cultures name and perceive colour – particularly the shifting hues of water. Using tea making as a tool for conversation, the artist invites you to the exhibition for tea tasting, and to participate in an ongoing dialogue about the colour of the water. The first 18 people to drink tea with the artist will also contribute to the final work.
Not for all the Tea in China
综合材料 Mixed Media
56x56cm (not inc. frame),
2025
Untitled
LED灯 LED on black board
35x35cm
2025
Let a Foreigner Make you Tea
行为截图 Still from a performance
2025
在短暂的九月里，仿佛潜入长满水藻的鱼缸，形成一个终将消散的生态系统.
剖析自己，试图在纸上阐明观点，然后用铅笔划掉,考虑到节约资源，用橡皮擦除，继续重复使用。
In the fleeting month of September, it’s like diving into an algae-filled fish tank, forming an ecosystem that will eventually dissipate. A fleeting moment, like the wind. I analyze myself, trying to articulate my point on paper, then cross it out with a pencil. Considering the need to conserve resources, I erase it with an eraser and continue to reuse it. This forms a sphere that quickly returns to its starting point.
试图捕捉清晨十点钟经过的风 Trying to catch the 10h morning wind
行为表演，视频 Performance, video
试图捕捉清晨十点钟经过的风 Trying to catch the 10h moring wind
绘画，2B 铅笔，油蜡纸 Painting and Crayong 2B, oil waxed paper
Something happening but it doesn’t matter.
Shells, Scotcher, Coffee filters, Recycle paper
去上海之前，我独自一人回到了家乡辽宁朝阳—七年来第一次回乡。我发现自己处在一个陌生的位置：我亲人的成年客人，身处如此遥远的时空，以至于我第一次能够将我的亲人们视为独立的个体，观察他们日常的举止、行为和拒绝，感受他们关爱、骄傲和等级制度的表达。在中国的这段时间里，我不断看到关爱与控制、脆弱与占有的二元性—在职场、公共生活以及监控文化中。当爱情必然带来伤痛时，谁又能声称自己是受害者？亲密关系背后隐藏着哪些无形的契约？
我本次开放日的作品源于这些观察。一系列六幅小画作，如同温柔与克制的缩影。一件风干的苦瓜片装置作品，记录着保存与腐烂。悬挂的蟋蟀笼里放着一幅双面微型画，呼应着养育与克制的交织。它们共同邀请观众观察我们拥抱和被拥抱的方式，并感受这些小瞬间中的舒适和不安。
Before Shanghai, I travelled alone to my hometown Chaoyang — my first trip back in seven years. I found myself in an unfamiliar position: an adult guest in my own family, so far removed by space and time that I could observe my relatives as individual entities for the first time, watching their gestures, performances, and refusals as daily expressions of care, pride, and hierarchy. Throughout my time in China, I kept seeing the duality of care and control, of fragility and possession — in workplaces, in public life, within surveillance culture. Who is to claim one is a victim when love must hurt? What are the invisible contracts that underlie intimacy?
My work in this open day grows out of these observations. A series of six small paintings serves as vignettes of tenderness and containment. An installation of air-drying bitter melon slices registers both preservation and decay. A hanging cricket cage holds a double-sided miniature painting, echoing the intertwining of nurture and restraint. Together, they invite viewers to look at the ways we hold and are held, and to feel both the comfort and the unease inside these small moments.
爱链；北塔（工作室照）Studio shot of Chain of Love and North Tower
布面丙烯 Acrylic on linen
20x30cm each
世界上最寂寞的孩子（工作室照）Studio shot of The Loneliest Child in the World
蝈蝈笼，丙烯，金属链条 Acrylic on wood inside cricket cage, metal chain
尺寸可变 Dimensions variable
先苦后甜（工作室照）Studio shot of No Sweet Without Sweat
苦瓜，金属衣挂，金属链条 Bitter gourd, metal hangers, metal chain
尺寸可变 Dimensions variable
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