赵仁辉：界线
Robert Zhao Renhui: The Lines We Draw
开幕 | Opening
2020/01/15 (Wed.), 6pm-8pm
展期 | Duration
2020/01/15 – 4/15
地点 | Location
香格纳新加坡，吉门营房LOCK路9号02-22，新加坡 108937 | ShanghART Singapore, 9 Lock Road, #02-22, Singapore 108937
时间 | Hours
Daily 11am – 7pm（周一、周二及公共假期闭馆 excluding Monday, Tuesday and Public Holiday）
香格纳新加坡荣幸呈现赵仁辉个展——界线。这次展览汇集了不同媒介的新作品，通过摄影、视频和装置来探索自然界的迁徙和灭绝。艺术家从他在中国丹东、中国台湾和新加坡展开的个案研究中着重表述了当地生态利益的状况：包括在鸭绿江口天空中看到的壮观的塍鹬和大滨鹬迁徙，与台北针对入侵的斑腿树蛙采取的“却斑行动大队”的措施。
ShanghART Singapore is pleased to present a solo exhibition by Robert Zhao Renhui, The Lines We Draw. Bringing together recent new work spanning photography, video and installation, this exhibition explores migration and extinction in the natural world. Drawing from narratives from Dandong and Taiwan, China and Singapore, Zhao’s work spotlights situations of ecological interest: from the migrations of godwits and great knots over the skies of the Yalu River estuary to the eradication measures against invasive spotted tree frogs in Taipei.
一夜之间收集到的斑点树蛙 Spotted Tree Frogs (Polypedates megacephalus) collected in a single night | 2018 | 亚克力三明治装裱 Diasec in frame | 74(H)*111(W)*6cm展览分为三个部分，第一部分名为“扰动”，由图像和物件组成，探索人类强加于大自然的各种分类，如原生物种或入侵物种，有害的或有益的。作品展示了台北入侵物种斑腿树蛙的图像，这种树蛙与当地的布氏树蛙争夺资源，因而对后者的生存造成了威胁。艺术家在台北参加了志愿者成立的“却斑行动大队”夜间捕捉活动，并在参与过程中拍下照片。
The exhibition is split into three parts. The first part is titled Disturbances, comprising images and objects that explore various taxonomies humankind has imposed on nature, such as native and invasive, noxious and useful. The work includes images of the spotted tree frog, an invasive species in Taipei crowding out the native white-lipped frog. These were created when Zhao joined a group of volunteers in Taipei who meet regularly on “Remove Every Frog” night hunts to capture invasive spotted tree frogs.
54231只涨潮时的鸟 54231 Birds at High Tide | 2019 | UV打印灯箱 UV printed lightbox | 150(H)*400(W)*12cm
第二部分“界线“，是一系列大型灯箱，描绘了鸭绿江上的鸟类迁徙。鸭绿江位于中国和朝鲜之间，作为国际边界，无论是河面还是河流上空都充满着政治意味。然而对于迁徙的塍鹬和大滨鹬来说，这条河有着另一个含义；这是它们每年横跨地球大迁徒中的栖息地之一。在2019年的迁徙季节中，赵仁辉和一名当地研究人员前往鸭绿江河口，记录了这一现象。
The second section, The Lines We Draw, is a series of large-scale lightboxes depicting bird migration in Yalu River. Located between China and North Korea, the Yalu river serves as a border; a politically charged space both on and above ground. For the migratory godwits and great knots, the river carries another meaning; it is a checkpoint in their annual journey that spans across the globe from Alaska to New Zealand. During migration season in 2019, Zhao and a local researcher visited the mouth of the Yalu River to document the phenomenon.
界线 一（来自新西兰）The Lines We Draw I (From New Zealand) | 2019 | UV打印灯箱 UV printed lightbox | 100(H)*150(W)*12cm
展览的最后一部分名为“阈值的纪念碑”，探讨了物种的灭绝和保护措施。这一部分收集了世界各地的物品和叙述，阐述了生态保护的模糊性，以及人类为防止物种灭绝而采取的极端措施。
The last section of the exhibition is titled A Monument to Thresholds and explores extinctions and conservation efforts to prevent them. Gathering objects and narratives from different parts of the world, this section attests to the ambiguities of ecological conservation, and the extreme measures preventing species wipeout.
赵仁辉对阈值状态特别感兴趣，因为迁移和灭绝都涉及边界的跨越。他的作品探讨了入侵物种与原生物种、外来与本土、生与死之间的空间，并对世界万物保持着多元化的视角。虽然他的图像来自特定的地区，但它们的含义并不受地理位置所限制。它们仍然是神秘的，邀请沉思，而不拒绝任何的可能性，允许一个不断变化和展开的位置。在人类追求客观性和秩序的过程中，无论是在科学领域还是在政治领域，他们都在土地、社群和学科之间划下了种种界限。赵仁辉的艺术实践通过将的审美敏感性和诗学注入科学方法，从而对科学进行审视。在人类世大灭绝的背景下，赵仁辉的作品充满了张力和复杂性; 在动物和珍奇柜等熟悉的表面下，进行着人类对存在的理解，与其变化莫测本质的协商。赵仁辉通过对它者的描绘来质疑人类中心主义文明下的知识系统；对非人类所创造的线条和逻辑作出了反思。
Zhao is particularly interested in threshold states, as both migration and extinction involve the crossing of boundaries. Exploring the spaces between invasives and natives, foreign and local, life and death, his works embrace a multitudinal perspective on the world. Although his images are drawn from specific locales, they are not constrained by their geographies. They remain mysterious, inviting contemplation without closing off interpretative possibilities, allowing for a position that is perpetually changing and unfolding.
In humankind’s pursuit for objectivity and order, whether within the field of science or politics, they have drawn lines across landscapes, communities, and disciplines. Zhao’s practice scrutinises the scientific method by infusing it with the aesthetic sensitivity and poetics of his images. In light of the ongoing Anthropocene extinction, the beauty in Zhao’s works is fraught with tension and complexities; beneath the familiarity of animals and cabinets of curiosities lies the negotiation between humankind’s understandings of existence and the latter’s perpetual changeability. Zhao problematises the safety of anthropocentric knowledge through representations of the other; reflecting on the lines and logics demonstrated by beings other than ourselves.
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关于艺术家
About the artist
赵仁辉（b. 1983）是新加坡籍视觉艺术家，他主要以摄影进行创作，同时采用多学科方法将影像与实物并置呈现。他的作品主要探讨人类与大自然的关系、仁义与道德的课题，同时也关注人类的态度和观点如何影响我们对大自然的认知。他在世界各地举办过个展，包括新加坡、中国、日本、澳大利亚和意大利，亦多次参与各地的双年展和摄影节。Singaporean visual artist Robert Zhao Renhui (b. 1983) works chiefly with photography but often adopts a multi-disciplinary approach, presenting images together with documents and objects in the form of textual and media analysis, video and photography projects. His artistic practice investigates man’s relationship with nature, utilizing convincing narratives to invoke doubts in its audience towards the concept of truth and its portrayal. His works has been exhibited globally, having held solo exhibitions in Singapore, China, Japan, Australia, and Italy, as well as participating in various biennales and photo festivals.近期的展览包括：“新加坡双年展2019, 正确方向的每一步”, 吉门营房，新加坡（2019）；“界线”，鸭绿江美术馆，丹东，中国（2019）；“影响”，橙县艺术博物馆，洛杉矶，美国（2019）；“观察，实验，归档”，桑德兰博物馆与冬季花园，伦敦，英国（2019）；“圣诞岛专家工作组的最终报告”，当代艺术国家研究中心，新加坡（2018）；“第九届亚太当代艺术三年展（APT9）”，昆士兰美术馆，现代艺术馆（QAGOMA），澳大利亚（2018）；“JIWA：2017雅加达双年展”，雅加达，印度尼西亚（2017）；“Hugo Boss 亚洲新锐艺术家大奖2017”，上海外滩美术馆，上海（2017）。 2019年，他凭第六届新加坡双年展中的作品入选Benesse大奖。2017年，他更以当届唯一东南亚艺术家的身份入围了Hugo Boss亚洲新锐艺术家大奖。
Recent exhibitions include Singapore Biennale: Every Step in the Right Direction, Gillman Barracks, Singapore (2019); The Lines We Draw, Yalu River Art Museum, Dandong, China (2019); Effect, Orange County Museum of Art, Los Angeles, USA (2019); Observe, Experiment, Archive, Sunderland Museum and Winter Garden, London, U.K (2019); The Institute of Critical Zoologists Final Report of the Christmas Island Expert Working Group, NTU Centre for Contemporary Art, Singapore (2018); The 9th Asia Pacific Triennial of Contemporary Art (APT9), Queensland Art Gallery, Gallery of Modern Art (QAGOMA), Australia (2018); Hugo Boss Asia Art 2017, Rockbund Art Museum, Shanghai (2017). Most recently, he is named as a finalist for the Benesse Prize 2019, and the Hugo Boss Asia Art Award 2017.
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