倾斜的在场 Tilted Presences

Skills: 展览 Exhibition

2025年12月艺术家驻地

驻地成果开放日

2025 December Artists in Residence

Residency Works Open Day

倾斜的在场

Tilted Presences

艺术家 Artists

蒋凌静 Ginny Jiang

Kylie Lee

林佩蓉 Salina Lam

2025年12月28日（周日）下午3点

December 28 (Sunday) 15:00, 2025

前言 Introduction

《倾斜的在场》关注当代语境中身体、土地与影像逐渐失去对齐的状态。开放日汇集蒋凌静、Kylie Lee与林佩蓉的作品，从身体经验、栖居感知与城市影像出发，呈现不同形式的“在场”如何被迫倾斜、被重新安放。

作品并不试图再现创伤或确立稳定的归属，而是指向一种尚未被固定的感知状态：身体在失衡中调整，土地在记忆与情感中显现，城市在影像与姿态中被不断标记。在朱家角这一既熟悉又被观看的场域中，邀请观众停留于这些倾斜之中，重新思考我们如何存在、如何感知，以及如何与世界建立关系。

Tilted Presences explores moments when bodies, lands, and images fall out of alignment. Featuring works by Ginny Jiang, Kylie Lee, and Salina Lam, this open day examines presence as something continuously reoriented through bodily experience, dwelling, and mediated urban life.

Rather than seeking resolution or stable belonging, the works attend to states of adjustment and uncertainty: bodies responding to imbalance, landscapes holding memory and sensation, and cities marked through images and gestures. Situated in Zhujiajiao, a site shaped by both intimacy and visibility, Tilted Presences invites viewers to remain within these tilted conditions and reconsider what it means to be present in an ever-shifting world.

蒋凌静 Ginny Jiang

《Alien52》是一部实验性舞蹈影像，探索个体意识的错位，呈现那些被贴上“异类”（alien）标签者所承受的模糊而沉重的缺席感。

作品灵感源于2025年一位52岁的中国女性因签证逾期被拘留，随后在亚利桑那州尤马（Yuma）边境巡逻站拘押期间自杀的事件，促使我对人性与照料缺失提出更深的质询。

《Alien52》刻意触碰令人不安的边界，进一步拓展我对身体、节奏、重量与空间的研究。“错位”在此既指代一种政治状态，也是一种形式策略：通过重新倾斜身体与地形、画面框架与行动路线之间的关系，作品提出一种关于流离失所的具身经验，而非对创伤的直观描绘。

我有意避免对白，阐述或明确的再现，这既出于美学考量，也出于伦理立场：镜头并非窥探或指认，而是引导观众经历视角改变。

我试图将注意力转向一个问题：当身体、法律与归属感的方向被强行倾斜时，我们该如何重建关怀？

Alien52 is an experimental dance film that explores a sense of self-dislocation, rendering the ambiguous, heavy state of absence borne by those labeled “alien.”

Alien52 intentionally works at unsettling edges and extends my research on the body in relation to rhythm, weight, and space. Here, self-dislocation refers to both a political condition and a tactic: by retilting the body’s relationship to terrain, frame, and route, the film offers an embodied phenomenology of displacement rather than an illustration of trauma.

My choice to avoid dialogue, exposition, or explicit reenactment is aesthetic and ethical: the camera does not pry or accuse.

I am shifting attention to the moment when the orientations of body, law, and belonging are forcibly tilted—how can care be rebuilt?

Alien52

视频 Video

4’21

2025

Kylie Lee

基于心理地理学的主题与方法，Kylie Lee的创作关注社交媒体驱动的视觉奇观在近年迅速蔓延，并对城市空间（尤其是上海）产生的深刻影响。她考察真实与建构之间日益模糊的边界，揭示数字平台如何促成自我监控机制，并不断生成可被保存与回溯的视觉遗产。

通过访谈与个人反思相结合的方式，Lee探讨了个体如何在看似日常而无害的拍照行为中，参与到一种更宏观的“在城市中标记自身在场”的现象之中。这种实践既源于人类记录与保存记忆的本能冲动（如同家庭旅行中的影像记录）也同时卷入了当代城市身份所包含的复杂结构。

最终，作品呈现出一个多层次、与具体语境紧密相连的世界：物理空间与个人经验在数字影像中相互交汇，时间与空间在持续的影像生产与传播过程中被不断压平。

Drawing inspiration from the themes and methodologies of psychogeography, Kylie Lee explores the recent surge in social media-driven spectacle and its pervasive influence on urban spaces, particularly in Shanghai. The artist investigates the increasingly blurred boundaries between the authentic and the constructed, highlighting the ways in which digital platforms foster self-surveillance and the creation of visual legacies. Through both interviews and personal reflections, Lee examines how individuals, through seemingly innocuous acts of posing for photographs, contribute to a larger phenomenon of marking presence within the cityscape. This practice reflects an innate human desire to create tangible memories, akin to family vacations, while also engaging with the complexities of contemporary urban identity. The result is a multifaceted, contextually layered world where physical locations and personal experiences converge in the digital image, flattening time and space in the process.

3张90，4张100 fomo pic

布面丙烯 Acrylic on canvas

150x150x150cm

2025

[ Scowl]

布面丙烯 Acrylic on canvas

60x80cm

2025

林佩蓉 Salina Lam

在林佩蓉近期的创作中，与她早期的视角相比，土地的形象变得更加清晰而具体。她不再试图在微小、无生命的存在中寻找可供逃离的替代性风景，而是将希望寄托于那些贯穿她一生、同时属于过去与当下的真实生活景观之中。

柳树的流动感，以及寒冬时节所感受到的秋意氛围，构成了一种直接的邀请，如同安静而温柔的拥抱，将她引入可以栖身的庇护之所。隐藏在这些图像之中的，是不断生成的转化与诠释：美与哀伤在其中并置，凋落与剥离所潜藏的低鸣开启了一种重新观看生命的方式。

通过大胆而富有插画感的笔触与有意识的痕迹运用，并结合柔软的粉彩质感，Salina 进入了一段沉思与对现实高度觉察的旅程。在这种温和的气息之中，蕴含着一种扎根于现实的感受——声音、形态、色彩、情绪与身体的在场——它们通过对朱家角所呈现出的包容性氛围，以及她在驻留期间所经历的梦境般体验的反思而逐渐展开。

In Salina’s recent work, the land has become more clearer in relation to her earlier perspectives. Rather than searching for alternative landscapes of escape within small, inanimate forms of life, she now seeks hope within the past-present landscapes she has lived throughout her life on Earth.

The fluidity of willow trees and the autumnal atmosphere felt during the cold winter month act as a direct invitation- a quiet embrace, welcoming her into shelter. Hidden within these images, transformation and interpretation emerge, revealing possibilities where beauty accompany with grief, and where an underlying rumble of shedding opens a new way of seeing life. Through bold illustrative strokes and intentional mark-making, combined with the softness of pastel, Salina enters a journey of contemplation and heightened awareness of reality. Within its mellowness lives a grounded sense of real-sounds, forms, colours, emotions, bodily presence- unfolding through reflection on the welcoming nature of Zhujiajiao and the dream-like experiences encountered during her residency.