Milla Filua Moth Jacobsen
2025 May Artists in Residence
Residency Works Open Day
Reverberating
Fidel Bellumat
Milla Filua Moth Jacobsen
May 25 (Sunday) 16:00, 2025
前言 Introduction
《回响》汇集了三位驻地艺术家：Fidel Bellumat、Milla Filua Moth Jacobsen和Carissa Foo。作品通过文字写作、影像和绘画，反映了艺术家对性别以及个人与社会、传统与现代之间古老张力的思考。
“REVERBERATING” brings together three artists: Fidel Bellumat, Milla Filua Moth Jacobsen
, and Carissa Foo. Through text, film, and drawings, the works reflect the artists’ contemplations on gender, sexuality, and the age-old tensions between the individual and society, as well as tradition and modernity.
Fidel Bellumat
Fidel Bellumat的绘画作品如同一个令人不安的叙事片段般展开，一个由模糊性、暴力以及男性气质的心理瓦解所塑造的叙事。Bellumat并非描绘完整的人物形象，而是将身体部位，手指、耳朵、器官。分离出来，取代面部和躯干。这些本能的替代将日常场景改写成扭曲的梦境，充斥着形而上的内在、幻觉和潜在的创伤。
他作品的核心是男性身体的转变，在两种对立的本能之间挣扎。一种是原始的：与自然、兽性和肉体力量紧密相连，一种原始的生命力，暴力凌驾于理性之上。另一种则暗示着一种可能的进化，在这种进化中，男性主体将更充分地融入异性和社会，逐渐屈服于文化规范和集体期望。
在Bellumat的视野中，这种张力尚未得到解决。过去，以无意识的驱动力和遗传的行为为象征，不断浮现，抗拒着变革的希望。与此同时，未来依然充满不确定性，被想象成一个欲望通过文化而非法律重新校准的空间，在那里，统治让位于思想、语言和脆弱性。
他的作品反映了男性虚荣心的崩塌：戴着帽子的男性侧面像，与文艺复兴时期的族长肖像相呼应，被剥夺了权威。剩下的只有受伤的肉体、空洞的躯壳，被从心灵深处浮现的幽灵所萦绕。浓重的黑烟，黑暗本身，在场景中蔓延，形成一道门槛，引领观者进入一个悬而未决的形而上学领域，在那里，时间和空间错位扭曲。
Bellumat的作品并非旨在作为封闭的图像单独解读。它们相互依存，有节奏地累积，并构建出一个碎片化却又统一的叙事。每幅画作都展现了男性气质在其中瓦解和转变的心理领域——怪诞与私密在此交融。
最终，Fidel Bellumat邀请我们探索一个男性形象不再占据主导地位，而是动荡、脆弱且不断变化着的世界。他的画作并非提供结论，而是开启了一个反思的空间，语言取代了力量，身体成为毁灭与潜在新生的场所。他作品的核心是男性身体的转变，在两种对立的本能之间挣扎。一种是原始的：与自然、兽性和肉体力量紧密相连，一种原始的生命力，暴力凌驾于理性之上。另一种则暗示着一种可能的演化，在这种演化中，男性主体将更充分地融入异性和社会，逐渐屈服于文化规范和集体期望。
Fidel Bellumat’s drawings unfold as fragments of a disquieting narrative—one shaped by ambiguity, violence, and the psychological undoing of masculinity. Rather than portraying complete human figures, Bellumat isolates body parts—fingers, ears, genitals—that replace faces and torsos. These visceral substitutions rewrite everyday scenes into distorted dreamscapes filled with metaphysical interiors, illusions, and latent trauma.
Central to his work is the notion of the male body in transition, torn between two opposing instincts. One is primal: tied to nature, animality, and physical force—a raw vitality where violence overrides reason. The other suggests a possible evolution, in which the male subject integrates more fully with the other sex and with society, gradually submitting to cultural codes and collective expectations.
In Bellumat’s vision, this tension is unresolved. The past—symbolized by unconscious drives and inherited behaviors—continually resurfaces, resisting the promise of change. Meanwhile, the future remains uncertain, imagined as a space where desire is recalibrated through culture rather than law, and where domination gives way to thought, language, and vulnerability.
His compositions reflect the collapse of masculine vanity: men depicted in profile with hats, echoing Renaissance portraits of patriarchs, are stripped of their authority. What remains is wounded flesh, hollow shells, haunted by specters that emerge from the recesses of the mind. A dense black smoke—darkness itself—spreads across the scenes, forming a threshold that leads the viewer into a suspended metaphysical zone, where time and space dislocate and distort.
Bellumat’s works are not meant to be read individually as closed images. They build upon one another, accumulate rhythmically, and create a fragmented but unified narrative. Each drawing is a glimpse into a psychological terrain where masculinity unravels and transforms—where the grotesque and the intimate coalesce.
Ultimately, Fidel Bellumat invites us to navigate a world in which the male figure is no longer dominant but destabilized, vulnerable, and in flux. His drawings do not offer conclusions but open a space of reflection, where language replaces force, and the body becomes a site of both destruction and potential renewal. Central to his work is the notion of the male body in transition, torn between two opposing instincts. One is primal: tied to nature, animality, and physical force—a raw vitality where violence overrides reason. The other suggests a possible evolution, in which the male subject integrates more fully with the other sex and with society, gradually submitting to cultural codes and collective expectations.
Milla Filua Moth Jacobsen
一部静静观察十字路口日常生活的短纪录片。影片展现了一代女性的个性表达，她们在中国社会中受到各种性别角色制度的影响。影片展现了古代与现代美学的对比。
A short documentary that quietly observes the everyday life at an intersection. The portrayed female communities showcase the feminine expression of a generation of women who have been impacted by varying systems that have influenced gender roles in China. The film plays with the contrasting aesthetics of ancient and modern.
亚克力打印，现成品 Ink on acrylic; found plastic
A series of textual contemplations on the constructs of women’s love. Where is the space for yearning in a place made to yearn? The work stands at the intersection of mythmaking, memorialisation, and modernity, of the preservation and perversion of love.
一系列关于女性爱的持久性和粘性本质的文本思考。在一个为了渴望而建造的古镇里，渴望的空间何在？这件作品处于纪念与现代性的交汇处，是一项关于爱的保存与进化的研究。
![［超］灾变论 [Hyper-]Catastrophe Theory 舜 Shun](http://www.acentricspace.com/wp-content/uploads/2024/04/wxsync-2024-04-17e42ddfe2087d093ffcdad3f414da34-440x625.jpeg)
