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地点：厦门市集美区杏林湾商务营运中心2号裙楼301关系性不止是一方通行，更是一个双方向的相互关系。不同关系的形成也是基于有着各自不同的立场和视角。事物的存在意味被转换为视觉语言，形成一个巨大信息库然后被人类利用。其本质是「看」与「被看」。生活中的景观在我的理解中有两条路：人类用视觉语言去表达感情，以及视觉语言背后所暗示的关系性。Monkey Moutain selected from Going to the Zoo is Serious Business series
魏子涵个展呈现了一个移除人类的动物园世界，将“关系”植入到了作品叙事中。在动物与人的视角之间、在虚构故事与真实的场景之间，魏子涵在作品中进行了一次有效的转化。从动物的角度而言，动物园与人类生活环境似乎是两个界限分明的空间。当我们的视角脱离人类，而是跟随着展览中12只猴子的眼睛，从空无一人的动物园逃入同样四顾无人的人类空间，这样一些视觉图像将引导我们思考：人类与动物的关系是什么呢？《没有动物的动物园空间》选自《逛动物园是一件正经事》系列Zoo Space Without Animal selected from Going to the Zoo is Serious Business series“人类中心主义”使得我们习惯将动物视为他者，作品《逛动物园是一件正经事》（動物園を見てまわるのは真面目なことだ）将主观视角发生转换，同时提醒我们的是，人类和动物正在共同塑造彼此。人们普遍认为人类与动物是“垂直”的进化关系，魏子涵作品则呈现了“水平”的相互关系，不仅取消了人类的主体地位，并且“以动物为切入基点表达对这一关系性问题的认知。”1魏子涵的另一个系列《情动的味道》（情動の匂い），聚焦于动物的形态、局部或是周遭环境。动物以视觉、触觉乃至味道等细微之处唤起我们的情感，形成了每个人档案式的感知记忆库。在后现代理论中，动物与人的二元关系在逐渐打破。当代哲学家贝尔纳•斯蒂格勒（Bernard Stiegler）认为，人类没有属于自己认知的“本能”，而是借由模仿各种动物的特性以习得“本能”。2《情动的味道》某种程度上也回应了这个问题，也就是说，人类与动物本来的差异性，根本在于人类的匮乏。动物本身的视觉奇观与感观刺激，弥合了我们作为人类的部分想象、情感与欲望。2 贝尔纳•斯蒂格勒（Bernard Stiegler）文章《技术与时间》（La Technique et le temps, 1994）《妇产科手术室外清洁的走廊》选自《情动的味道》系列Clean Corridor Outside the Operating Room selecetde from TheTaste of Emotion series2020年毕业于武藏野美术大学 大学院 写真专业。现工作生活于东京，研究方向主要以写真手段探索人与人、人与空间、人与周围事物的关系性。作品在国内外画廊及博物馆展出发表。2020 东京银座306号Project 受赏（大西みつぐ 选）2020 Reminders Photography Stronghold 「COVID-19」公募展 受赏（後藤由美 选）2020 武蔵野美術大学大学院修了展 小林のりお赏 受赏2019 第二回 CANON SINZA presents 「SHINES」受赏（町口覚 选）2019 第21回1wall写真 Finalist2018 Imageless Dummy Photo-Zine Awards Finalist China Wei Zihan Solo Exhibition —— The Illusion of NogeyamaArt Director: Teng QingyunOrganizer: Three Shadows Xiamen Photography Art CentreDuration: Mar 13, 2021– Apr 11, 2021Opening：Mar 13, 2021 15:00Venue: No. 301, Building 2, Xinglinwan Business Center, Jimei District, Xiamen(Enter from the large platform connecting Building 1 and Building 2)the top of the mountain is a place to conquer.it is the place where it snows.-- Abbas Kiarostami, "A Wolf Lying in Wait"Relationality is more than just the passage of one party. It is a two-way interrelationship. The formation of different relationships is also based on having different positions and perspectives. The existential meaning of things is transformed into a visual language, forming a huge pool of information that is then used by the human species. The essence is to "see" and "be seen". There are two paths in my understanding of the landscapes in life: the visual language that humans use to express their feelings, and the relational nature implied by the visual language.《没有人的人类空间》选自《逛动物园是一件正经事》系列Human Space Without Human selected from Going to the Zoo is Serious Business series
Wei Zihan's solo exhibition presents a zoo world where human beings are removed and "relationship" is implanted into the narrative of her works.Between the perspectives of animals and humans, between fictional stories and real scenes, Wei has made an effective transformation in her works. From the perspective of animals, the zoo and the human living environment seem to be two clearly defined spaces. When our viewpoint goes from humans and to the eyes of the 12 monkeys in the exhibition, escaping from the empty zoo into the equally empty human space, such visual images guide us to question: what is the relationship between humans and animals?Animal Specimens in the Aquarium selected from The Taste of Emotion seriesWhile "anthropocentrism" has made us accustomed to seeing animals as the Other, Wei’s work "Going to the Zoo is Serious Business" shifts the subjective perspective and reminds us that humans and animals are shaping each other at the same time. While it is commonly believed that humans and animals are in a "vertical" evolutionary relationship, Wei’s work presents a "horizontal" interrelationship, not only abolishing the subjectivity of humans, but also "taking animals as the entry point to present the perception of this relational issue.” 1A Group Photo in the Zoo selected from The Taste of Emotion seriesWei's other series, "The Taste of Emotion," focuses on the form, locality, and surroundings of animals. Animals evoke our emotions with subtleties such as sight, touch and even taste, forming an archival memory bank of each individual's perception. In postmodern theory, the binary relationship between animals and humans is gradually breaking down. The contemporary philosopher Bernard Stiegler argues that humans do not have their own cognitive "instincts", but acquire them by imitating the characteristics of various animals.2 "The Taste of Emotion" echoes this question to some extent, that is, the fundamental difference between humans and animals lies in the deficiency of the former. The visual spectacle and sensory stimulation of animals bridge part of our imagination, emotions and desires as human beings.1 Interview with Wei Zihan2 Bernard Stiegler, La Technique et le temps (1994)Born in 1994 in China, Based in Tokyo.Her career in photography began while she went to Communication University of China.She Graduated from Musashino Art University, Department of Imaging Arts and Sciences.Now, she worked as a freelance photographer in Tokyo. Her works mainly focus on the distance between people, the way people are connected to other spaces, and the relationship between people and the things around them.2020 Photography 306 Review Award2020 Reminders Photography Stronghold ‘COVID-19 Pandemic’ Finalist2019 Kiyosato Museum of Photographic Arts2019 Canon Ginza Presents Shines Award2019 21st "1_WALL" Photography Finalist2018 Imageless Dummy Photo-Zine Awards Finalist China