在阈之间 At the Thresholds

Skills: 展览 Exhibition
2026年4月艺术家驻地
驻地成果开放日

2026 April Artists in Residence

Residency Works Open Day

 
 在阈之间 

 At the Thresholds 

 

 
艺术家 Artists

林雪莹 Lam Suet Ying, Lamcat

马瑜蔚 Yuwei Ma

Aditya Ryan Bhat

Sofia Piacentini

 

2026年4月26日（周日 ）下午4点

April 26 (Sunday) 16:00, 2026

 
 
 前言 Introduction 
在阈之间，经验始终处于未被完全定义的状态。时间不再是连续的推进，空间也不再是稳定的边界，而是在“进入”与“离开”、“显现”与“消隐”之间不断偏移。
四位驻地艺术家的创作，从时间、身体、空间与叙事四个层面进入“阈”的结构：它既是时间的切口，也是身体的暂停、关系的间隙与空间的临界。
林雪莹以河流与月相构成行走地图，记录流动中的短暂关系；马瑜蔚通过身体的中断与器物的迁移，在日常中生成“之间”的关系；Aditya Ryan Bhat以“门/阈”揭示空间的临界状态；Sofia Piacentini在政治叙事中重新诠释了亲密关系，她所呈现的权力的甜蜜面庞掩盖了其背后的代价。
他们的创作共同构成一个不断变化的感知场域，使“阈”成为一种持续发生的状态。在这里，意义并非被呈现，而是在相遇与切换中被短暂触发。
At the thresholds, experience remains in a state that is never fully defined. Time is no longer linear, nor is space a fixed boundary; both shift continuously between entry and exit, appearance and disappearance.
Four resident artists, approaching the threshold through time, body, space, and narrative. It appears as a cut in time, a pause in the body, an interval in relation, and a spatial condition of transition.
Lamcat maps fleeting relations through walking along the river and lunar cycles. Yuwei Ma explores interruption and movement through bodily gestures and nomadic objects, producing an “in-between” of relations. Aditya Ryan Bhat reveals spatial liminality through the logic of the door/threshold. Sofia Piacentini reconfigures intimacy within political narratives, where the sweetness of power obscures its cost. 
Together, these practices form a shifting field of perception in which the threshold is not a line, but a continuous condition. Meaning is not presented, but momentarily activated through encounter and transition.

 林雪莹 Lam Suet Ying, Lamcat 

 

上海淀浦河图（局部） Along the Dianpu River in Shanghai (Crop)
纸上铅笔 Pencil on paper
2026
 

《上海淀浦河图》是香港艺术家林雪莹Lamcat的驻地作品。画作沿淀浦河，记录从朱家角到黄浦江一带的游历过程，亦收录了她与四位驻地艺术家共处的生活点滴与感受。

月亮让时间变成可见的光，

而河流令月光变得不稳定。

作品以朔望月作为一个月的时间结构，以河流呈现情感的推进与变化。也记录了自己遇见不同为梦想努力的人一起同行的时刻。虽然最后未必有结局，但至少曾经成为彼此短暂照亮的漂流者。

作品以地图形式呈现移动与停留的轨迹，将个人经历与空间探索结合。在彼此情感逐渐变得模糊与不可确定之后，地图成为一种保存，也成为一种证据——使那些曾经发生、却看似毫不起眼的片段，得以界定彼此之间的关系。这就是记忆地图的艺术意义。

Along the Dianpu River in Shanghai is a residency work by Hong Kong artist Lamcat (Lam Suet-ying). The painting follows the Dianpu River, tracing a journey from Zhujiajiao to the Huangpu River, while also gathering fragments of daily life and shared experiences with four fellow resident artists.

The moon renders time into something visible,

while the river refuses to keep its light still.

Structured by a synodic lunar cycle, the artwork uses the river to articulate the progression and transformation of emotions. It records encounters with different individuals striving toward their dreams, walking alongside one another for a time. Though such journeys may not lead to a shared ending, they were, at least once, drifting companions who briefly illuminated each other.

Presented in the form of a map, the artwork traces movements and pauses, intertwining personal experience with spatial exploration. As emotions gradually become indistinct and uncertain, the map becomes both a form of preservation and a kind of evidence—allowing those seemingly insignificant moments to define the relationships between individuals. This is the artistic significance of the memory map.

 

 马瑜蔚 Yuwei Ma 
OFFOFFOFF
行为，摄影 Performance，photograph
陶瓷 Ceramics
2026
《OFFOFFOFF》发生于上海街头的公共空间之中。手持具有“OFF”形态的器物，在人流密集、节奏紧张的环境中反复执行饮水这一动作。本作品将“水分补给”这一日常且被忽视的行为，转化为对“OFF”状态的重新感知与放大。饮水，作为一种最基础的生理需求，是身体主动发出的中断信号：停下、抬手、吞咽。在这一短暂的过程中，行动从外部节奏中抽离，转而回到身体自身的感知之中。它既是片刻的休息，也是能量重新进入身体的时刻，一种在“关闭”与“再启动”之间不断循环的微观机制。
OFFOFFOFF takes place in the public spaces of Shanghai’s streets. Holding an object shaped like “OFF,”  MA repeatedly carries out the act of drinking water within a dense, fast-paced urban environment. The work transforms the ordinary and often overlooked act of “hydration” into an amplified re-perception of the “OFF” state.
Drinking water, as a basic physiological need, is a signal initiated by the body itself: to pause, to lift, to swallow. In this brief moment, action detaches from the external rhythm and returns to the body’s own sensory awareness. It is both a momentary rest and a moment in which energy re-enters the body—a micro-mechanism that continuously cycles between “shutting down” and “restarting.”

之间之食 Eating in Between

装置，行为 Installation, Performance

陶瓷，木桌，编织，牛奶，茶，点心 Ceramics, weaving, milk, tea, snacks

2026

 

《之间之食》以朱家角驻地期间的实践为核心，展开关于饮食与关系的现场实验。既有作品《语食器 Dialogue Vessel》与《女茶乃器 Malk-Tei》在此被重新激活，这些具有功能性的陶瓷器皿处于一种“游牧”的状态：它们既承载日常使用的属性，又不被固定于单一场景或单一文化语境之中。当器物进入新的地域，参与不同的使用方式与生活节奏时，其意义也随之发生转化与重组。在上海日常生活的具体情境中，原本相对静态的器物转化为具体使用中的行为结构。它们既携带着在京都形成的制作时间与经验，也不断吸收上海的城市气息与生活节奏，从而在跨地域的流动中生成一种持续展开的对话。
Eating in Between takes the artist in residence in Zhujiajiao as its point of departure, presenting a series of site-based experiments on eating and relationality. Existing works—Dialogue Vessel and Malk-Tei—are reactivated here. These functional ceramic objects exist in a “nomadic” state: they carry the attributes of everyday use, yet are not fixed within a single context or cultural framework. As they enter new locations and engage with different modes of use and rhythms of life, their meanings are continually transformed and reconfigured.
Within the specific context of everyday life in Shanghai, these once relatively static objects are transformed into operational structures for use. They retain the time and experience of their making in Kyoto, while simultaneously absorbing the atmosphere and pace of Shanghai. Through this cross-regional movement, the works generate an ongoing dialogue that unfolds between places, bodies, and practices.
 Aditya Ryan Bhat 

DO(OR) 閾

视频和电声声音 video and electroacoustic sound

2026


DO(OR) 閾

木面丙烯 Acrylic paint on wood

192 x 77cm

2026


门洞标志着公共空间与私人空间的分界点。漫步于上海街头，我被形形色色有趣的门扉深深吸引，更着迷于门后所蕴藏的一切 – 那是想象力所开启的无限可能。随后，我发现了汉字“阈”（yù）。“阈”一字，既指进出之口，亦指事物由不可感知转为可感知的临界点，如“听阈”即指听觉的阈值。

“阈”字的构形，是由表意为“或者”或“或许”的“或”字，被表意为“门”的“门”字所包围而成。若说“门”象征着空间上清晰明确的界限，那么“或”字则引入了一种充满暧昧与不确定性的元素。“或”字被收纳于“门”扉之内。在试图参透“阈”字的深意时，其意旨往往显得有些难以捉摸。或许，它正是在提醒我：前行或后退，总有选择的余地；无“入”便无“出”，无“出”亦无“入”。

《DO(OR) 阈》是一件融合了实体装置、影像与声音的多媒体作品。我由衷感谢其他驻留艺术家们贡献了自己的声音，分享他们对“阈”这一汉字的独特感悟。其余的声音素材与影像资料，则是我在过去三周内于朱家角、苏州及南京各地采集所得。

 

A doorway marks the point of separation between public and private space. Walking through the streets of Shanghai, I was intrigued by the many interesting doorways and the thought of what lay behind them – the possibilities that imagination offered. Then I discovered the Chinese character for ‘threshold’ 閾/阈 (yù). ‘Threshold’ connotes both a point of entry/exit and a limit at which something becomes perceptible, as in 听阈, the threshold of hearing. 

 

‘Threshold’ is composed of the character for ‘or’/‘perhaps’ 或 (huò), enclosed by the character for ‘gate’ 門/门 (mén). While ‘gate’ suggests something clearly demarcated in space, ‘or’/‘perhaps’ introduces the element of ambiguity. ‘Or’ is contained within the ‘door’. Meaning is elusive when trying to get a sense of 閾. It reminds me, perhaps, that there is always a choice to go either way; that there is no entry without exit and no exit without entry.

 

DO(OR) 閾 is a multimedia piece consisting of a physical installation, video, and sound. I am grateful to the other residents who have contributed their voices, reflecting on their understanding of this character. The remaining sounds and the video materials I have gathered in Zhujiajiao, Suzhou, and Nanjing over the last three weeks.

 

 Sofia Piacentini 

 

Love Story

布面丙烯 Acrylic on canvas 

100cmx150cm 

2026

四幅画作勾勒出一段政治恋情的种种姿态：欲吻未吻、握手、牵手，以及那张仰起的面庞。伴随着一首经过混音处理的《Love Story》 – 在这首曲子中，泰勒·斯威夫特的副歌高潮被空袭警报与炸弹投落声撕裂，而特朗普口中的每一个“Baby”都变成了“Bibi” – 这件装置艺术消弭了浪漫与毁灭之间的界限。这种甜腻感正是其核心所在。在你意识到为此需要付出何种代价之前，你早已被其深深诱惑。

Four paintings chart the choreography of a political love affair: the near-kiss, the handshake, the hand-hold, the upturned face. Accompanied by a remixed “Love Story” in which Taylor Swift’s chorus splits open with air-raid sirens and bomb drops, and every “baby” becomes “Bibi” on Trump’s tongue, the installation collapses the distance between romance and ruin. The sweetness is the point. You are seduced before you remember what it costs.