天线的线 | 彭祖强：还未命名的片刻
彭祖强：还未命名的片刻
Peng Zuqiang: Hesitations
07/31-09/05/2021
天线空间荣幸地宣布“彭祖强：还未命名的片刻（Peng Zuqiang: Hesitations）”将于7月31日于Objective开幕。彭祖强的影像作品时常聚焦人与人之间非直接的交流方式，在其细腻而不失张力的镜头记录下，细微的动作和把玩的物件都可以成为建立个体情感与身份联系的出发点。在驻留项目的集体生活中，艺术家拍摄下的场景里反复出现的犹豫片刻，不仅暗示了人际交往的进退之间的复杂性，而且这种交流的被动性与人物主体的身份确定性息息相关。当交流者拒绝以既定主体身份自居时，相互建立的联系是否可信，而影像能否通过刻画感官体验以表达言外之意？（文/李石影）
Antenna Space is pleased to announce the opening of Peng Zuqiang: Hesitations at Objective on July 31st. Peng Zuqiang's video works often focus on the indirect way of communication between people. Under his delicate and uncompromising camera records, subtle movements and objects that he plays with can become the starting point for establishing individual emotional and identity connections. In the collective life of the residency project, the recurring moments of hesitation in the scenes captured by the artist not only hint at the complexity between interpersonal interactions, but also the passivity of such communication is closely related to the certainty of the identity of the figure's subject. When the communicators refuse to identify themselves as established subjects, are the connections established with each other credible, or can the images convey meaning beyond words by portraying sensory experiences?
彭祖强
"保联 keep in touch", 2020-2021
多频录像截帧, 13:58
两年前的夏天，我在一片城外的森林里待了两个月，一同还有许多艺术家。一个多元且又极为亲密的集体生活，会放大许多平日不愿多想的互动。
即便是有着相似的身份，我们在各个层面上又是如此的不同。我们有可能凝聚在一起吗？我们应该在这个过程中尝试建立联系，而又不畏惧触及彼此的差异吗？
在那段日子结束前，我邀请了身边酷儿的, 亚洲的伙伴们，出演了几组场景。展览中的五个影像，每个都以一卷超八胶片的时间长度为基准, 以一个动作起始，由我们一起即兴发挥完成。每个场景，我都试图找到一位和其中的动作或物件，有着个人联系的非白人朋友来参与。
Two summers ago I spent two months living in a forest in the company of several artists. This varied, intimate collective experience gave new depth to many interactions one wouldn’t usually think twice about.
Although our identities were broadly similar in some ways, we were very different on other levels, which led me to wonder: What does a solidarity among us feel like? Could we build new connections without fear of touching on the differences that separated us?
Before our time together came to an end, I invited my queer and Asian friends to film a few scenes from my notebook. Each of the five scenes in this project took the length of one reel of Super 8mm film as a starting point. Each protagonist, all of them non-white bodies, was given a gesture as a prompt from which to improvise, and for each scene I tried to find a protagonist who has a personal connection to the object or gesture in it.这些片刻的构建与拍摄，断断续续持续到疫情发生之前。其中呈现的感官体验，以及有意与无意的触碰，想要提问的是有关于接触的复杂性：不是每个身体都能去接触他者, 或愿意被接触。有些身体可以随意触碰而全身而退，而那些被规训，被边缘化的身体却必须时刻保持警惕。源于自己的经历和听闻的场景中，包括着失效的回忆、不太轻松的八卦，还有无言的沉默。我在想，沉默和犹豫是否可以是沟通的方式，能否成为触发影像的形式？我不认为这两种状态是缺乏能动性的，正如表现它们的身体，也必定不是去政治化的。
The scenes were shot intermittently, before the pandemic. The sensual experiences, the touches both intentional and unintentional included in the project, were attempts to think through the complexity of contact: Not everybody can touch another, nor will every body agree to be touched. Some bodies touch with ease and are left unscathed by it, while others—disciplined and marginalized bodies—remain on high alert at all times.
These scenes are adapted from personal experiences and random hearsay. They include some fragmented memories, uneasy gossip, moments of silence. I wonder, to what extent are silence and hesitation themselves avenues of communication? Can their temporal qualities spark an image? I don’t consider being silent or hesitant as implying lack of agency; the bodies that perform them can push back against depoliticization.
但我们似乎不能用能动性来衡量所有的状态，尤其是在当一个所谓的“主体”无法成型的时刻。这样的时刻好像需要我们重新思考所谓可见、可闻，和可辨的标准，需要我们逃离最常用的语法。然而当我们失去名字，或者成为未命名，在“主体”之外的路径里，没有名字的我们又如何去与不曾有名字，和不想要有名字的人连结？
希望不再易辨的我们，仍是一种持续的提问，一种不断的批评和一种保持联结的叙述。
Yet it is difficult to apply the criteria of ‘Agency’ to all states and actions, especially when no so-called ‘Subject’ takes form. At such times we are forced to reconsider what it means to be visible, audible and legible in the absence of the grammars we are accustomed to.
When we lose our names. When we become ‘untitled’. On a path other than that of becoming a proper ‘Subject’, how can we we, newly unnamed, build connections with those who never had a name at all—or with those who prefer not to have one?
The illegible ‘we’ can still proceed as a continuing force of questioning, an unending form of critique, a narrative of keeping in touch.
彭祖强 Peng Zuqiang
彭祖强 Peng Zuqiang
彭祖强（Peng Zuqiang），1992年出生于湖南长沙。2014年毕业于伦敦大学金史密斯学院，2017年毕业于芝加哥艺术学院。他的驻地经历包括：The Core Program驻地计划，休斯顿艺术博物馆，休斯顿（2017-2019）；斯科希甘绘画与雕塑学院驻地计划，麦迪逊（2019）；麦克道威尔驻地计划，彼得伯勒（2020）。他于2020年荣获第八届华宇青年奖“评委会特别奖”，同年荣获印尼日惹国际纪录片影展长片竞赛单元“评委会奖”。
彭祖强的作品⽴源于研究与观察，着眼具体物件与集体历史中潜藏的意识形态与情感痕迹。他的创作涉及多元化的主题，并且一直在作品中展露出对观察式创作手法的反思，试图在打破相机凝视的同时, 与研究主体建立一种情感连结。
部分展览和放映经历包括：“归还权”，Deluge Contemporary Art，维多利亚（2021）；“Is it a Good Time?”，Mana Contemporary，芝加哥（2021）；“漫长的问候 - 第八届华宇青年奖入围展”，尤伦斯当代艺术中心，北京（2020）；“北京国际短片联展”，歌德学院，北京（2020）；长片竞赛单元，印尼日惹国际纪录片影展，日惹（2020）；“长片首作”单元，阿姆斯特丹国际纪录片电影节，阿姆斯特丹（2020）；“反物质”影像艺术展，维多利亚（2020）；“跨洋视觉交流项目”，缓存空间 / Fresh Milk Art Platforms，北京 / 巴巴多斯（2019）；“The Core Program”放映，休斯顿艺术博物馆，休斯顿（2019）；伯恩民族志影像展，瑞⼠(2018)；“德国国际民族志影展”，哥廷根（2018）；“The Core Exhibition”展览, 前坪画廊，休斯顿（2018）；“国际短片单元”，莱比锡纪录片电影节，莱比锡（2017）；“不设防城市”纪录片电影节，伦敦（2017）；“Encuentros del Otro Cine EDOC”，基多（2017）；“热蔗 - 亚洲电影及录像放映”，咩事艺术空间，香港（2016）；“傲慢青年”，Gabriel Rolt画廊，阿姆斯特丹（2015）；“辩论 - LAB451”, 卡姆登图像画廊，伦敦（2014）；“本⼟中国电影⼈放映单元”，华语视像艺术节，伦敦（2014）；“The Temporary: 01”，ARTicle画廊，伯明翰（2014）。
Peng Zuqiang was born in Changsha in 1992. He graduated from the Goldsmiths, University of London in 2014, and from the School of the Art Institute of Chicago in 2017. His residencies include: The Core Program, Museum of Fine Arts, Houston (2017-2019); Skowhegan School of Painting & Sculpture, Madison (2019); Macdowell Colony, Peterborough (2020). He was awarded the Jury Special Award at the 8th Huayu Youth Award 2020, and a ‘Special Mentions’ at the Festival Film Dokumenter (FFD) in Yogyakarta, Indonesia in the same year.
Grounded in research, Peng examines traces of ideology and intimacy embedded in exchanges, objects, and collective history through his art. Exploring a diverse range of themes and topics, he works both in and against the observational mode, destabilizing the camera’s gaze while establishing an affective contract with the subjects.
Selected exhibitions and screenings: Right of Return, Deluge Contemporary Art, Victoria (2021); Is It A Good Time?, screening at Mana Contemporary, Chicago (2021); A Long Hello - Huayu Youth Award Exhibition, UCCA Beijing, Beijing (2020); Beijing International Short Film Festival, Goethe-Institut China, Beijing（2020）Festival Film Dokumenter (FFD), Yogyakarta(2020); IDFA First Appearance section, Amsterdam (2020); Anti-Matter, Victoria (2020); Transoceanic Visual Exchange 2019 edition, CACHE Space/Fresh Milk Art Platforms, Beijing/Barbados( 2019); The Core Screening, Museum of Fine Arts, Houston(2019); EthnoKino, Bern(2018); The Core exhibition, Lawndale Art Center, Houston (2018) German International Ethnographic Film Festival, Göttingen (2018); Dok Lepzig, International Short Programme, Lepzig(2017); Open City Documentary Festival, London (2017); Encuentros del Otro Cine EDOC, Quito (2017); Drunken Film Festival, Bradford (2017); Asia Independent Film and Videos, Connecting Space, Hong Kong(2016); De arrogantie van De jeug, Galerie Gabriel Rolt, Amsterdam (2015); Debates, Lab 451, Camden Image Gallery, London (2014); Local Chinese Filmmaker Session, Chinese Visual Festival, London (2014); The Temporary: 01, ARTicle Gallery, Birmingham (2014).
天线的线 Antenna-tenna
始于2021年春季，“天线的线”，是天线空间进一步加强展览实验性同时培养年轻艺术家的作品委任项目。这个项目流动地且不定期地在非白盒子空间开展，采取由艺术家提出的更自然的作品制作周期，并且尊重艺术家跳出画廊展览常规的在地性展览理念。“彭祖强：还未命名的时刻（Peng Zuqiang: Hesitations）是“天线的线”第二期项目。
Inaugurated in Spring 2021, Antenna-tenna is a commissioning strand to further facilitate Antenna Space’s experimental programming and foster artists of younger generation. Taking places in non-whitecube settings nomadically and periodically, the project commits to natural production cycles proposed by the artist and grants site-responsive exhibition ideas outside the gallery. Peng Zuqiang: Hesitations is the second project of Antenna-tenna.