【展讯】梅心怡个展——悬垂的手｜厦门

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  梅心怡个展 —— 悬垂的手  

策展人：肖瑞昀
艺术总监：滕青云

主办：三影堂厦门摄影艺术中心
展期：2023年4月2日 - 2023年5月7日
开幕：2023年4月2日 15:00

地点：厦门市集美区杏林湾营运中心2号楼裙楼三层

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“悬垂的手”属于身体的一部分，被一股力量牵扯半悬于空中，这与梅心怡作品呈现的状态相契合——有些不合时宜，悬置着又时刻蕴蓄摆动的能量。

梅心怡将图像和文本作为沟通媒介。文本信息作为具体的叙事，将图像的互文、符号的实写嵌入不同的视听策略中。她的图像中运用手部肢体等某种特定的身体性的视觉语言，放大感官的知觉系统。《kuchibiru（唇）》系列以微型小说写作想象与虚构的关系对象之间的意外接触，再邀请陌生人拍摄这些短暂的亲密瞬间。每一幅作品都是当代人际关系的心理剧，作品中人物略显尴尬的姿态和手部的扭曲，使每场相遇充满紧张感和不确定感。预先设计和场景构建的方式运用在了其中的一件作品《无题 Ⅱ（花语与蜂鸣）》，她用保鲜袋包裹鲜花，使得真实的鲜花处于一种脆弱的隔绝状态；与此同时，她把花瓶移至房间，将看似不真实的赛博空间与自我真实空间进行连接。

生姜，kuchibiru（唇）系列，收藏级喷墨打印，裱于铝塑板，85×67cm，2019-2021

Ginger, kuchibiru(lips) series, archival inkjet print mounted on aluminum composite panel, 85×67cm, 2019-2021

无题Ⅱ (花语与蜂鸣)（双联），kuchibiru（唇）系列，UV打印灯箱片，灯箱，80×120cm×2，2019-2021

Untitled Ⅱ (Flower Meanings and Bees Beeping)(diptych), kuchibiru(lips) series, UV print, light-box, 80×120cm×2, 2019-2021

《殉像》由九宫格的幻灯影片组成，以及一部平行的叙述性写作(字幕配音和书籍)作为附本展示。影像与文本呈现着一定的割裂和矛盾——电视播放的是摄影样片这一功能性图像，以其丰富的内容色彩营造出美好的消费场景，如同一层层空心的糖衣；文字则是一部半虚构的公路小说，讲述童年的家庭旅行中遇到情妇的故事。然而这个私密且情感逐渐浓烈的“殉情”故事所构成的连贯性叙事，在碎片化的图景中不断挣扎并最终消弭。

殉像，视频装置，彩色，声音，20分58秒，2020-2022，视频截图

Martyr(in exile), video installation, color, sound, 20min58s, 2020-2022, screenshot

梅心怡擅于将复杂私密的情感隐藏到文本中，影像则呈现冷静或疏离。同样的，《作文纸》将随机创作的图像作为工具，试图唤起并记录下梦境里的喃喃呓语。随笔悬浮于图像之上，观众可在不同角度的观看过程中任意将文字和图像组合，整个系列具有梦核般的实验意味。

作文纸 系列，收藏级喷墨打印，21.6×28cm每件，2019-2021

Essay Paper series, archival inkjet print, 21.6×28cm each, 2019-2021

作文纸 系列，收藏级喷墨打印，21.6×28cm每件，2019-2021

Essay Paper series, archival inkjet print, 21.6×28cm each, 2019-2021

最近的作品《与柳树一同写作》是结合绘画与书写的冥想式实验，在植物的悬挂部分和根部生⻓之间的区分中，探索悬挂如何区别于生长的实在，以其虚构的形态，并暗示着非二元性与分散的社群；另一件作品《眠音》，观众将聆听语音导航，感受身体在虚拟垂直空间中的漂浮或坠落，并通过搭建场景来建立身体所在的实体语境。

与柳树一同写作，纸本铅笔，21×29cm每件，进行中

Writing with willow trees, pencil on cotton paper, 21×29cm each, on-going

随着世界的大多数交流转移到屏幕后的虚拟空间，身体的在场变得无足轻重。“悬垂的手”可以被看作是一次对观众的邀约，在这个充满歧义与问题的半透明场所里，完成一个未完成的叙述，一场与重力的博弈，也是一次对身体的重新认知。

文/肖瑞昀

 · 关于艺术家 · 

梅心怡(b.1997)的跨媒介艺术实践主要进行图像和文本之间的转译，同时结合媒介理论介入物质文化的视觉语言与表现形式。她试图解释特定情境下的共生（symbiosis）关系，并研究戏仿（parody）与故事叙述（storytelling）作为推测性叙事的手段。她测量一种中间状态被催化发生的条件——这些状态摇摆于故障和成功、话语和失语、原件和复制品、诗歌和知识、妥协和抵抗之间。同时，她讨论作者、观众与作品在场域中的沟通策略与空间政治。她通常使用影像、装置和写作进行创作。梅心怡于2021年于罗德岛设计学院摄影系取得艺术硕士学位。她的作品曾展出于上海，纽约、台北等多地，目前作为客座讲师任教于同济大学。

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  A Sign Language  
  Xinyi Mei’s Solo Exhibition  

Curator: Xiao Ruiyun 
Art Director: Teng Qingyun 

Organizer: Three Shadows Xiamen Photography Art Centre
Duration: Apr 02, 2023 - May 07, 2023
Opening: Apr 02, 2023 15:00

Venue: 3rd Floor of Building 2, Xinglinwan Business Center, Jimei District, Xiamen

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A Sign Language, the Chinese title of the exhibition is about the handing hand, a part of the body, half suspended in the air by a force. This is in keeping with the state that Xinyi Mei's works present - somewhat ill-timed, suspended and constantly holding the energy of swinging.

Xinyi Mei uses images and texts as a medium of communication. The textual message serves as a specific narrative, embedding the intertextuality of images and the actual representation of symbols in different audio-visual strategies. Using a specific language such as hand limbs, her images amplifying the perceptual system of the senses. The series kuchibiru(lips) is written in miniature novels, imagining unexpected encounters with fictional relationships, and then inviting strangers to collaborate these fleeting moments of intimacy. Each works is a contemporary psychodrama of human relationships, with the slightly awkward gestures and somewhat distorted hands of the characters in the series, lending a sense of tension and uncertainty to each encounters. The approach of staging and scene-setting is applied to Untitled II (Flower meanings and Bees beeping), where Mei wraps the flowers in cling bags, leaving the real flowers in a fragile state of isolation; at the same time, she moves the vases into her room, connecting the seemingly unreal cyberspace with the real space of the self.

我在出租车里无法拥有体察外界温度的能力，kuchibiru（唇）系列，收藏级喷墨打印，裱于铝塑板，85×67cm，2019-2021

I can't experience the outside temperature in a taxi, kuchibiru(lips) series, archival inkjet print mounted on aluminum composite panel, 85×67cm, 2019-2021

无题Ⅰ，kuchibiru（唇）系列，绢上喷墨打印，170×133cm，2019-2021

Untitled Ⅰ, kuchibiru(lips) series, inkjet print on silk, 170×133cm, 2019-2021

Martyr(in exile) consists of a 3×3 lay-out 9 channel slideshow film, with a parallel narrative writing (with subtitle and voice-over as well as a book) presented as an auxiliary. There is a certain fragmentation and contradiction between the image and the text - the television shows a functional image of photographic dailies that create a beautiful advertising scene with their rich colourful content, like a hollow sugar coating, whereas the text is a semi-fictional road novel inspired by a childhood family trip in which Mei meets a woman who is someone's mistress. The coherent narrative of this intimate and progressively more emotionally charged story of “martyrdom” struggles and eventually dissolves in a fragmented picture.

殉像，视频装置，彩色，声音，20分58秒，2020-2022，过往展览现场

Martyr(in exile), video installation, color, sound, 20min58s, 2020-2022, past installation view

Xinyi Mei excels at hiding complex and intimate emotions within the text, while the images appear calm or detached. Similarly, Essay Paper uses randomly created images as a tool to try to recollect and record the murmurings in a dream world. The essay is floated above the image, allowing viewers to combine words and images at will as they are viewed from different angles, making the whole series dreamcore-like and experimental.

作文纸 系列，收藏级喷墨打印，21.6×28cm每件，2019-2021

Essay Paper series, archival inkjet print, 21.6×28cm each, 2019-2021

In the recent work, Writing with willow trees, a meditative experiment combining painting and writing, the distinction between the hanging part of the plant and the root growth explores how the hanging is distinct from the growing in terms of substantiality in a fictional form, and suggests a community of non-duality and dispersion. In another work, ASMR, audiences listen to the guide and feel the body floating or falling in a virtual vertical space, establishing the physical context of the body in the constructed scene.

As most of the world's communication shifts to the virtual space behind the screen, the presence of the body is approaching a flatness and lightness. A Sign Language  can be seen as an invitation to the viewer to complete an unfinished narrative in a translucent place of ambiguity and questions, a gambling with gravity, and a reawakening of the body.

Text/Xiao Ruiyun

 · Biography · 

Xinyi Mei(meimei)(b.1997) is an artist and situation creator based between Shanghai and Jiangsu, China. Her multimedia practice oscillates between image and text while incorporating media theory to intervene in the representations of material culture. She investigates and interprets the symbiosis in specific situations and examines parody and storytelling as means of speculative narratives. To evaluate the circumstances when consilience and situated knowledge are interwoven, she measures and negotiates between glitch and success, utterances and aphasia, the original and replica, poetry and intellect, compromise and refusal. She also proposes discussions about the communication strategy and spatial politics between the author, the audience, and the work. Mei received her MFA degree from Rhode Island School of Design in 2021. Her lens-based works, installations and writing practices have been exhibited in galleries and spaces in Shanghai, New York, and Taipei, etc. Currently, she also works as an adjunct faculty at Tongji University in Shanghai.

海报设计：蔡旻皓

Poster Design: Minhao Cai

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