2026 August Artists in Residence
Residency Works Open Day
August 29 (Saturday) 16:00, 2026
表演 Performance: 5PM
诗歌朗诵 Poetry reading: 詹小乐 Xiaole Zhan
古琴 Guqin: 林睿田 Rui Tian
位于宫崎县的“西盖亚海洋穹顶”曾是一个室内人工沙滩，现已拆除。它拥有当时世界上最大的可伸缩屋顶，可根据天气情况自动开合。模拟的氯化无盐海水波浪拍打着12000平方米的人工沙滩。艺术家刘艺繁、贾佳、Eva Kuznietsova、Lián和詹小乐从已关闭的“西盖亚海洋穹顶”以及朱家角周边环境（既是古老的水乡，也是商业化的旅游区）中汲取灵感，探讨模拟与再现的概念。每位艺术家都对“世界中的世界”做出回应，在这些世界中，真实与虚假之间的界限不断模糊。空心书中描绘着想象的生活；永恒的金属中捕捉着转瞬即逝的瞬间；旅游城镇中展现着生计；气泡膜中封存着种子；秘鲁农村流离失所者的现实中，虚构着游牧民族的生活。我们诚挚地邀请您走进我们重新构想的西盖亚海洋穹顶，一个由废墟重新组合而成的场所，并思考我们每个人生命中层层叠叠的世界。The Seagaia Ocean Dome was an indoor artificial beach in Miyazaki that has since been demolished. In its time, the Seagaia Ocean Dome featured the world’s biggest retractable roof, which opened and closed according to weather conditions. Simulated waves of chlorinated, unsalted water swept upon 12,000 square metres of artificial sandy beach. Artists Yifan Liu, Jia Jia, Eva Kuznietsova, Lián and Xiaole Zhan draw upon ideas of simulation and representation embodied in the defunct Seagaia Ocean Dome as well as the surroundings of Zhujiajiao – both an ancient water town as well as a commodified tourist zone. Each artist responds to the worlds within worlds where the lines between genuine and artificial are constantly unsettled. There are imagined lives within hollow books; fleeting moments captured within permanent metal; livelihoods within tourist towns; seeds sealed within bubblewrap; and fictional nomads within the reality of displaced peoples in rural Peru. We welcome you to step into our reimagined Seagaia Ocean Dome – a site of assembled ruins – and to consider the worlds within worlds within each of our lives.
Lián
Three Nomads: callejun de waylas, puma ringri, ausangate y vinicuna
布面油画丙烯 Oil on canvas, acrylic on canvas
2026
这组三幅自然风景画的创作灵感源于一个试图融入自身文化却又在多元文化背景下感到力不从心的个人探索。然而，随着秘鲁近期发生的殖民主义事件，例如保护区遭到破坏、非法建设、资源掠夺和种族隔离等，这一概念在创作过程中发生了深刻的转变。流离失所、破坏、缺乏法律保护和文化抹杀并非现代社会的独有问题，它们自古以来就影响着秘鲁人，并在当今社会依然存在。即便与故土疏离，当故土遭受威胁时，人们依然会感到义愤填膺。
This collection of 3 paintings of natural landscapes began as a concept trying to belong to one’s own culture and failing as a multicultural person in a personal exploration manner, but the concept changed strongly along the process due to recent events of settler colonialism happening in Perú, such as protected lands being attacked and targeted for illegal building, resource exploitation, and apartheid. Displacement, destruction, lack of legal protection, and erasure are not problems of the modern world — they have been affecting Peruvians since the older ages and continue to manifest in its current state. Despite the disconnection from one’s own birthplace, one can’t help but feel rage when it’s under threat.
刘艺繁 Yifan Liu
现成装饰书和纸质版画 Found decorative books, prints on paperPin，Pin，Pin是一件由二十本现成装饰书籍组成的装置。书上覆盖着两类由艺术家编辑并打印的图像:一类是卫星地图，从远处俯瞰那些我们未必能够亲自抵达的地方;另一类是旅途中拍下的地面，是人真正站立、行走和经过的地方。两类图像以不同的透明度出现在这些中空的书上。装饰书常常让人联想到知识、文化、旅行，以及某种令人向往的生活，即使里面其实什么也没有。作品把它们看作一种“安慰剂”:一张平面的图像、一本空心的书，并不能真的让人拥有它们所指向的东西，却依然可以带来安慰、想象和期待，让原本遥远的事物在感觉上变得近一些。作品从“读万卷书，行万里路“这句话出发，整个装置也有些像一块愿景板。它想讨论的是这种若即若离的关系:我们好似可以通过愿景板看到遥远的地方，接触到大量的知识，想象自己过上另一种生活，但这些东西真的因此变得触手可及了吗?Pin, Pin, Pin is an installation composed of twenty found decorative books covered in prints. Satellite maps, offering expansive views of a world largely beyond immediate experience, appear alongside photographs taken of the ground during travels, at the scale of places physically occupied. Both are applied to the hollow books at varying levels of opacity. Decorative books carry the appearance of knowledge, culture, travel, and desirable ways of living, even when there is nothing inside them. The work considers this presence as a kind of placebo: how a flat image and a hollow object can still offer comfort, aspiration, or a feeling of proximity to something beyond one’s reach. Taking the Chinese phrase “读万卷书，行万里路” (“read ten thousand books, travel ten thousand miles”) as a point of departure, the installation also resembles a manifestation board. It reflects on the ambiguous place these substitutes occupy in contemporary life, where distant places, knowledge, and imagined lives can feel strangely present without necessarily becoming any more accessible.
被维持的停滞 Maintained StagnationClay, seeds, plastic, stainless steel《被维持的停滞》延展自2022年的作品《流通》，继续从种子及其所处的不同状态出发，思考生命、物质与价值如何在流动中发生变化。气泡膜、未经烧制的陶泥、可移动支架、钓鱼竿与持续旋转的机械装置共同构成了一个介于生长、运输、等待与转化之间的场域。一部分种子被封存在气泡膜中，保持着尚未发生的可能；另一部分进入未经烧制的陶泥，在水分与时间的作用下逐渐发芽。盛载幼苗的陶泥器皿停留在可移动的支架上，一根钓鱼竿从远处伸向其中。另一侧，嵌有种子的身体状陶泥被串在机械装置上持续旋转——它们一直处于运动之中，却从未真正抵达另一个地方。在这里，生长未必意味着前进，运动也未必通向抵达。被保存的种子可能等待生长，正在生长的生命也可能进入下一次移动，而持续旋转的身体始终停留在原处。《被维持的停滞》将这些不同的状态并置，让流动与停留、生长与消耗、保护与限制之间的界限变得模糊。循环或许并非通往某处的过程，也可能是一种需要被持续维持的停滞。Maintained Stagnation extends from my 2022 work Circulation, continuing to consider how life, materials, and value shift through states of movement. Bubble wrap, unfired clay, a mobile stand, a fishing rod, and continuously rotating mechanical devices together create a field suspended between growth, transportation, waiting, and transformation.Some seeds are sealed within bubble wrap, holding the possibility of something yet to occur; others are embedded in unfired clay, gradually germinating through water and time. A clay vessel containing seedlings rests on a mobile stand, while a fishing rod reaches toward it from a distance. Elsewhere, body-like forms of unfired clay embedded with seeds are skewered on mechanical devices and rotate continuously—they remain in constant motion, yet never truly arrive anywhere.Here, growth does not necessarily mean progress, nor does movement necessarily lead to arrival. Seeds held in suspension may await growth; life already growing may enter another cycle of movement; and bodies in continuous rotation remain in place. Maintained Stagnation brings these states together, blurring the boundaries between movement and stillness, growth and depletion, protection and restriction. Circulation may not always be a process of moving toward somewhere; it may also be a form of stagnation that must be continuously maintained.
Everything arises, exists for a fleeting moment, and fade away.Kuznetsova Eva创作了作品《刹那》，其灵感源于时间的无垠以及佛教的刹那概念，转瞬即逝的瞬间，存在的最微小时刻。该作品也受到李月琪的诗歌及其作品《无垠之地》的影响。《刹那》由三件金属作品组成，探索物质的永恒与时间的脆弱之间的张力。细腻而几乎难以察觉的瞬间，水的流动、水滴的落下、转瞬即逝的瞬间，被转化为粗糙锻造的金属。通过这种对比，《刹那》反思了捕捉本质上转瞬即逝之物的悖论。水、水滴和其他短暂的形态成为贯穿作品的反复出现的元素，并伴以进一步唤起时间持续流逝的音景。这三件作品共同创造了一个空间，在这个空间里，转瞬即逝与永恒、柔和与坚韧、存在与消逝并存。Kuznetsova Eva developed Chànà, a project inspired by the boundlessness of time and the Buddhist concept of kṣaṇa (刹那) — a fleeting moment, the smallest instant of existence. The project is also influenced by the poetry of Yueqi Li and her work 无垠之地 (“Boundless Land”).The project consists of three metal objects that explore the tension between material permanence and the fragility of time. Delicate, almost imperceptible moments — the movement of water, a falling drop, an instant of disappearance — are translated into rough, forged metal. Through this contrast, Chana reflects on the paradox of capturing what is inherently transient.Water, droplets, and other ephemeral forms become recurring elements throughout the works, accompanied by a soundscape that further evokes the continuous flow of time. Together, the three objects create a space in which the fleeting and the enduring, softness and strength, presence and disappearance coexist.
詹小乐 Xiaole Zhan
Three poems printed on A4 paper
live reading and Guqin performance (with local musician Rui Tian)
2026
“我在朱家角期间创作了三首新诗，分别是《On Having Never Been to the Seagaia Ocean Dome》、《Ancient Town Tourist Zone》和《Étude》。这三首诗的印刷版将在展览中展出，《Étude》还将与当地音乐家林睿田合作，以古琴伴奏的形式进行现场朗诵。”
“I have written three new poems during my time in Zhujiajiao. These poems are titled On Having Never Been to the Seagaia Ocean Dome; Ancient Town Tourist Zone; and Étude. These three poems are printed and displayed throughout the exhibition, with Étude also read aloud in a live performance with Guqin alongside local musician Rui Tian. ”
![［超］灾变论 [Hyper-]Catastrophe Theory 舜 Shun](https://www.acentricspace.com/wp-content/uploads/2020/10/wxsync-2024-04-17e42ddfe2087d093ffcdad3f414da34-440x625.jpeg)
