2025 August Artists in Residence
Residency Works Open Day
Confluence
Chaeyeon Hong
Tianming Zhou
August 23 (Saturday) 16:00, 2025
本次开放日《潆洄》以循环往复的流动意象，串联起三位驻地艺术家的在地思考。洪綵涓以辗转的纸板构建屏风剧场，使上海的记忆在裁切拼贴中潆洄不息；周天鸣通过破损镜头与地质声景，在湿地与跑道之间构筑声像的洄游之路；Anna Luhovska则牵引朱家角的水影与衰老的容颜，让代际的庇荫在六米画幅中蜿蜒流转。三位艺术家分别从物质痕迹、地质聆听和身体叙事出发，将东方哲思埋入动态的边界体验—时间不再线性奔涌，而是如涡流般潆洄缠绕，邀请观众在保存与流失的裂隙处，凝视一场记忆与地貌的循环。
This Residency Open Day, “Confluence,” connects the local reflections of three resident artists through the imagery of cyclical flow. Chaeyeon Hong constructs a screen theater from torn cardboard, allowing the memory of Shanghai to ripple endlessly through cut-and-paste collages. Tianming Zhou uses damaged footage and geological soundscape to construct a migratory path of sound and image between wetlands and runways. Anna Luhovska captures the watery shadows and aging faces of Zhujiajiao, allowing the shadows of generations to meander across a six-meter canvas. Drawing inspiration from material traces, geological listening, and bodily narratives, these three artists embed Eastern philosophical reflections within a dynamic experience of boundaries—time no longer flowing linearly, but swirling and entwining like a vortex, inviting the audience to contemplate the cycle of memory and landscape at the rift between preservation and loss.
“在上海，我徘徊于城市与自然交汇的边界。漫步于其独特的建筑、园林和寺庙之间，我创作了一件纸板绘画装置，体现了我对这些空间的视角。装置将传统的东亚屏风形式与木偶剧的表演元素融合，通过我的想象重新构想了“一个东方注视着另一个东方”的概念。
纸板既是我流畅运动的载体，也隐喻着通过剪贴的过程收集和重组记忆的行为。这种材料源于日常的货运箱，并非仅仅是被丢弃的包装，而是承载着时间和地点的痕迹。在到达我手中之前，它已沿着不同的路线辗转，经手无数，在其表面留下层层叠叠的使用和运输痕迹。在这件作品中，纸板既是上海记忆的容器，也是连接边界的舞台装置。”
“In Shanghai, I lingered at the boundary where the city and nature meet. Walking through its distinctive architecture, gardens, and temples, I created a cardboard painting installation that embodies my own perspective on these spaces. The installation merges the traditional East Asian folding screen format with the performative elements of marionette theater, reimagining the concept of “one East looking at another East” through my imagination.
Cardboard serves as both a medium for expressing my fluid movements and as a metaphor for the act of collecting and recombining memories through the processes of cutting and pasting. Sourced from everyday shipping boxes, this material is not merely discarded packaging but carries traces of time and place. Before reaching me, it has traveled along various routes and through many hands, leaving behind layered marks of use and transport upon its surface. In this work, cardboard becomes both a container of memories of Shanghai and a stage device that connects boundaries.”
Where Boundaries Fold and Unfold
综合材料 Acrylic and oil pastel on cardboard, 8 panels
height variable (155–187 cm), total width 768 cm, max depth 44 cm
2025
Rotating at the Threshold
综合材料 Acrylic on cardboard sculpture, turntable
32.5x13x34cm
2025
Mushroom in a Box
综合材料 Paper mushroom sculpture on cardboard
16x11x6.5(cm)
2025
周天鸣将在此次展览中呈现三件影像装置作品：《近似猜想》，双通道影像装置；《近似猜想（重构）》，多媒体装置；以及《贴近文明》，无声双通道影像装置。作品以在地观察与后期重组为方法，探讨地质、情感与文化层面的过渡景观。通过动态影像、实体底片，以及源自特定场所的环境与地质声景，创作者企图呈现景观的变迁如何交织个体记忆、自然存在与人类介入。破损相机、漏光与抽象化的取景凸显了感知的脆弱与不可持续性，而声音的叠合则揭示了遥远环境之间意想不到的共鸣。在这些装置中，自然与人工的力量，诸如潮汐湿地、古老水道、机场跑道、旅游灯光，彼此碰撞与重叠，生成既连续又破碎的空间。凝视这些临界地景，观众或将体会栖居于保存与消逝、失落与转化之间的场所所承载的哲思与情感重量。
Tianming Zhou will present three image-based installations: If Approximate, a two-channel video installation; If Approximate (Reimagined), a multi-media installation; and Near the Civilization, a silent two-channel video installation. Together, these works investigate geological, emotional, and cultural landscapes in transition. Through moving images, photographic negatives, and layered soundscapes, Tianming explores how ecological shifts intersect with memory, cultural and natural presence, and human intervention. Broken cameras, light leaks, and abstract framings emphasize the fragility of perception, while the interweaving of field recordings underscores unexpected affinities between distant environments. Across the installations, natural and artificial forces such as tidal marshes, ancient waterways, airport runways, and tourist lights collide and overlap, producing spaces that are simultaneously continuous and fragmented. In examining these liminal geographies, Tianming reflects on the philosophical and emotional weight of inhabiting places suspended between preservation and erosion, loss and transformation.
近似猜想 If Approximate
双通道视频装置 two-channel video installation
超8毫米 Super 8
2025
近似猜想（重构）If Approximate (Reimagined)
摄影与声音装置 installations with negatives and sound
2025
贴近文明 Near the Civilization
双通道影像装置 Two-channel video installation
竖屏 Vertical
无声 silent
2025
该项目由绘画和巨大的人物雕塑两部分组成，反思时间的流动。一方面，它从古老的水乡朱家角汲取灵感，那里有蜿蜒的运河、狭窄的窗户、飘忽的影子，以及当地居民，尤其是老年人的独特性格。另一方面，它与我早期的“世代连接”（2017-2019）相呼应，该项目是在游历多个亚洲国家后创作的。
在那件作品中，我探讨了全球影响力的后果，以及年轻一代如何在社交媒体和互联网的塑造下，尽管存在巨大的文化差异，却开始形成更加统一的身份认同。相比之下，我选择将目光转向老一代——他们的生活没有被数字化饱和所笼罩，保留着独特的习惯、特征和生活方式。通过我的艺术创作，我不仅试图思考老年人面孔上所蕴含的多样性之美，也试图纪念或许是最后一代未受数字化统一影响的一代人。
中国谚语说：“前人栽树，后人乘凉。” 在我的作品中，这片阴影既是隐喻，也是结构——一幅跨度超过六米的巨型多联画。在四幅画作中，阴影象征着延续、庇护和传递——在这个视觉空间里，记忆和历史并非静止不动，而是流动的，如同朱家角的水流一般。从这个意义上讲，这个项目表达了对当代中国不断变化的文化景观的深刻本土化回应。
The project, consisting of two parts — paintings and monumental human figures — reflects on the fluidity of time. On one hand, it draws inspiration from the old water town of Zhujiajiao, with its canals, narrow windows, and fleeting shadows, as well as the distinctive characters of its inhabitants, particularly the elderly. On the other, it connects to my earlier project Generation Link (2017–2019), developed after traveling through multiple Asian countries.
In that work, I examined the consequences of global influence and how the younger generation, shaped by social media and the internet, began to form a more unified identity despite vast cultural differences. In contrast, I chose to turn my attention to the older generation — those whose lives unfolded without digital saturation, preserving unique habits, features, and ways of being. Through my art, I sought not only to contemplate the aesthetic beauty of diversity inscribed in the faces of the elderly, but also to memorialize what may be the last generation untouched by digital unification.
The Chinese proverb says: “The previous generation plants the trees, the next enjoys the shade.” This shade becomes both metaphor and structure in my work — a monumental polyptych spanning more than six meters. Across four paintings, shadow functions as an allegory of continuity, shelter, and transmission — a visual space where memory and history are not static, but fluid, like the waters of Zhujiajiao itself. In this sense, the project articulates a profoundly localized response to the changing cultural landscapes of contemporary China.
People of Zhujiajiao
纸上丙烯 Acrylic on paper
170 cm (each)
2025
Behind the window
布面油画 Oil on canvas
74x160cm
2025
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