≡ 东南亚批判性辞典: 小斜方截半正方体(平面), 2019
CDOSEA: Flat Rhombicuboctahedron, 2019
何子彦 Ho Tzu Nyen
亚克力上打印、灯箱、金属框
Print on acrylic, light box, metal frame
193 x 120 x 3 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
新展开幕 Upcoming Exhibition
“东南亚批判性辞典之八:
小斜方截半立方体”
“The Critical Dictionary of Southeast Asia Volume 8:
R for Rhombicuboctahedron”
开幕 Opening: 19.03.26 | 5-8pm
展期 Duration: 19.03.26 - 19.05.17
地点 Address:
马凌画廊 | 香港 | 香港中环德辅道中33号6楼
Edouard Malingue Gallery | Hong Kong
Sixth floor, 33 Des Voeux Road Central
(Scroll down for English version)
马凌画廊（香港）很荣幸呈献“东南亚批判性辞典之八：小斜方截半立方体”，作为世界知名艺术家何子彦（生于1976年，新加坡）的持续性项目《东南亚批判性辞典》（2012-现在）的又一新篇章 。该项目以有机体的姿态不断演化，就“东南亚”的多元区域概念产生和启发批判性的对话。基于“东南亚”一词的普遍性，何子彦致力探讨在语言、宗教和政治不统一的环境里， 是什么构成了东南亚这一整体。此次展览属于“无尽个可能的‘东南亚’系列”[1] 之一，在术语和地域层面上形成藕断丝连的关系状态。
何子彦如此形容《东南亚批判性辞典》：“一个长期调研的平台，是未来项目的起源地，是口述轶事的蒙太奇机器”[2]。从何子彦在香港亚洲艺术文献库的艺术家驻留项目开始，它囊括了文字、音乐和在线影像，由算法不断对素材进行筛选，汇编成26个A到Z的词条。本次展览由一个视频和几组装置作品组成，从小斜方截半立方体的定义入手，这个阿基米德立体的26面正好呼应了26个拉丁字母，为《东南亚批判性辞典》奠定基础。
≡ 东南亚批判性辞典: 正方形层叠(人脸), 2019
CDOSEA: Square Stack (Faces), 2019
何子彦 Ho Tzu Nyen
光栅打印、LED灯箱、金属框
Lenticular print, LED light box, metal frame
180 x 180 x 10 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
在展厅的最后一个空间，展览的中心作品为一个利用算法编辑创作的视频在定制的黑房里无限循环播放。由Jan Gerber和Sebastian Lütgert 创建的算法不断随机筛选何子彦从互联网汇集的录像资料，同时指令闪烁的LED灯与视频的互动，配合著项目合作者、新加坡音乐人巴尼•海卡尔或反复唸诵、或喃喃细语的配音。
贯穿着展览空间是一组新制作的灯箱，将《东南亚批判性辞典》的创作过程和精萃活灵活现：《东南亚批判性辞典：小斜方截半立方体（骰子）》（2019）汇集26个图像，各代表着一个字母，透过算法形成一颗活动的26面骰子。《东南亚批判性辞典：小斜方截半立方体（平面）》（2019）则代表着二维版本的小斜方截半立方体，鼓励观者自行透过联想将其重新组合。另外两个灯箱利用光栅技术层叠26个图像， 与目录形式的光栅灯箱相呼应，都代表着属于《东南亚批判性辞典》的截帧、文字和词条。
“东南亚批判性辞典之八：小斜方截半立方体”延续了何子彦充满巧思的创作脉络，参考一系列文学、艺术史和音乐的文献，一种被扩大强化的模糊、戏剧性和不安的感受充斥于其中。何子彦借由身心两方面来调动观众多种感知，并促使其思考那些我们已知的和更为重要的未知。诚然，此次展出的新作、《东南亚批判性辞典》系列以至其延伸项目皆可以被描述为“无数微粒的云集，有着不断变化的形状”[3]，赋予诠释方法以新的层次和发现。
≡ 东南亚批判性辞典: 正方形层叠(景观), 2019
CDOSEA: Square Stack (Landscapes), 2019
何子彦 Ho Tzu Nyen
光栅打印、LED灯箱、金属框
Lenticular print, LED light box, metal frame
180 x 180 x 10 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
何子彦的作品是一种多重的复合物，是参与、是读物也是体验。何子彦基于细致谨慎的试验性研究进行创作，使其作品更像是来自一位真正的学者，或是一位娴熟的叙述能手。然而根据其自己的描述，“发掘文献资料绝非我创作中的重中之重。我一直在试图以一个或许对这些资料一无所知但极具想像力的旁观者来进行创作。”[4] 这一自评让我们意识到，何子彦的艺术实践并非关于那些我们已知的事物，而是在为我们打开一扇通向未知的大门。
何子彦曾在世界多地举办个展，包括汉堡艺术协会（2018）、上海明当代美术馆（2018）、横滨表演艺术论坛（2018）、香港亚洲艺术文献库（2017）、东京森美术馆（2012）、悉尼艺术空间（2011）、阿德莱德南澳大利亚当代艺术中心（2010）。此外，何子彦曾代表新加坡参加2011年第54届威尼斯双年展。其群展包括沙迦双年展（2019）、光州双年展（2018）、新加坡国家美术馆（2018）、达卡艺术峰会（2018）、柏林世界文化宫（2017）、纽约古根海姆博物馆（2016）、布里斯班现代美术馆（2016）、毕尔巴鄂古根海姆博物馆（2015）、纽约古根海姆博物馆（2013）、广州时代美术馆（2013）和鹿特丹维特·德维茨当代艺术中心（2012）等。其还曾多次参加国际电影节，包括美国帕克城举行的2012年辛丹斯电影节、2009年第66届威尼斯国际电影节和2009年第41届法国戛纳国际电影节导演双周单元。何子彦曾于2017年完成香港亚洲艺术文献库的艺术家驻留项目。
[1] 何子彦与海蒂·芭蕾特对话，2017年
[2] https://cdosea.org
[3] Darryl Wee：《浓密的云：何子彦》，2011年5/6月
[4] 同上
≡ 东南亚批判性辞典: 方格(目录), 2019
CDOSEA: Square Grid (Index), 2019
何子彦 Ho Tzu Nyen
光栅打印、LED灯箱、金属框
Lenticular print, LED light box, metal frame
180 x 180 x 10 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
Edouard Malingue Gallery, Hong Kong is thrilled to present "R for Rhombicuboctahedron, vol. 8", a new chapter of The Critical Dictionary of Southeast Asia (2012-present) by internationally acclaimed artist Ho Tzu Nyen (b. 1976, Singapore). Akin to an organism, it is part of an ongoing project that grows, generates and provides critical insight into the pluralistic definitions of the territories under this nomenclature. Born out of recognition for how sweeping the term "Southeast Asia" is, it considers what makes up an area not unified by language, religion or political power. The exhibition is a part of an “endless series of possible Southeast Asias”[1], which collectively form a torn yet interconnected terminological territorial tapestry.
Described as “a platform facilitating ongoing research, a matrix for generating future projects and an oracular montage machine” [2] The Critical Dictionary of Southeast Asia (CDOSEA) is part of a database of texts, music, online images, that according to an algorithm selects and weaves different sounds and images to form an “Abécédaire” first developed while in Residency at the Asia Art Archive. Presented as a video and a series of lightboxes throughout the gallery space, "R for Rhombicuboctahedron, Vol. 8" takes as a launching pad the definition of a rhombicuboctahedron - an object with 26 sides - which numerically mimics the number of letters in the Latin alphabet and thereby the structural parameters of The Critical Dictionary of Southeast Asia.
≡ 东南亚批判性辞典(视频截帧)
The Critical Dictionary of Southeast Asia (video - still)
2017 - 现在 ongoing
何子彦 Ho Tzu Nyen
算法编辑创作录像、无限循环播放、巴尼·海卡尔配音
Algorithmically composed video, infinite loop, voice by Bani Haykal
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
At the heart of the exhibition is an algorithmically-edited video on an infinite loop at the end of the gallery space; video materials are detourned from online sources and recomposed in endless variations by the algorithms created by Ho Tzu Nyen in collaboration with Jan Gerber and Sebastian Lütgert. These same algorithms also trigger a wall of LED lights that pulsate and burn away the video images. This stream of images and light are accompanied by the incantatory voice of ongoing Singaporean musical collaborator Bani Haykal.
Permeating the space is a new series of lightboxes. These lightboxes each serve as a physicalised condensation of the complex processes underlying the project of CDOSEA. For example, CDOSEA: Dice Rhombicuboctahedron (2019), assembles 26 images (one for each letter of the alphabet) from the algorithmically assembled archive into a moving 26 sided dice. CDOSEA: Flat Rhombicuboctahedron (2019) on the other hand, is a flattened-out version of the rhombicuboctahedron to be mentally reconfigured by the thinking viewer. Two further square lightboxes consist of 26 images overlaid through the technique of the lenticular print, and finally a single square and gridded lightbox functions as a lenticular, two-dimensional index of all the images assembled for this version of the CDOSEA.
‘R for Rhombicuboctahedron, vol. 8’ follows the pillars of Ho Tzu Nyen’s complex and considered practice. There is a pervasive sense of ambiguity, theatricality and unease, augmented by a collection of historical, literary and pop culture references. Centrally, Ho charges the viewer emotionally and physically to deliver a multisensory consideration of what we know and crucially, do not. Indeed, this work, the larger overarching project, and the projects that have stemmed from it, may be described as a “dense constellation of particles—constantly shifting shape” [3], giving way to new layers, discoveries – elements of interpretation.
≡ 东南亚批判性辞典: 正方形层叠(人脸), 2019
CDOSEA: Square Stack (Faces), 2019
何子彦 Ho Tzu Nyen
光栅打印、LED灯箱、金属框
Lenticular print, LED light box, metal frame
180 x 180 x 10 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
Ultimately, Ho’s work is one of multiple engagements, readings and experiences. Careful and deliberate, his practice sits on the cusp of investigative research, the work of a true scholar, and that of a proficient as well as articulate narrator. As described by Ho himself, however, “spotting references is never a crucial thing in my work. I always try to produce work for an imaginary spectator who might have zero understanding of these references” [4] – a comment that reminds us that Ho’s practice is not about projection of what we know, it is about opening the door onto something we did not.
Ho Tzu Nyen has been widely exhibited with solo exhibitions at Kunstverein, Hamburg (2018); McaM, Shanghai (2018); Asia Art Archive, Hong Kong (2017); Guggenheim Museum, Bilbao (2015); Mori Art Museum, Tokyo (2012); Artspace, Sydney (2011); Contemporary Art Centre of South Australia. He also represented Singapore at the 54th Venice Biennale (2011). Recent group exhibitions include Sharjah Biennial, Sharjah (2019); Gwangju Biennale, Gwangju (2018); Dhaka Art Summit, Dhaka (2018); "2 or 3 Tigers" at Haus der Kulturen der Welt, Berlin (2017). His works have been presented at QAGOMA, Brisbane (2016); Guggenheim Museum, New York (2013); Times Museum, Guangzhou, China (2013); Witte de With, Rotterdam (2012). He has also participated in numerous international film festivals including the Sundance Film Festival in Park City, Utah (2012); 66th Venice International Film Festival (2009); 41st Directors’ Fortnight at the Cannes International Film Festival in France (2009). Ho was an Artist-in-Residency at Asia Art Archive, Hong Kong (2013), and also the DAAD, Berlin (2016 – 2017).
[1]Ho Tzu Nyen in conversation with Heidi Ballet, 2017
[2]https://cdosea.org
[3]Ho Tzu Nyen ‘Clouds of Density’ by Daryll Wee, May/June 2011
[4]Ibid.
通过戏剧性的乐谱和光效来呈现大量的历史参照是何子彦（1976年生于新加坡）创作录像和装置作品的主要手法。各不相同的录像作品向人们揭示鲜为人知的东南亚历史的同时，也在指出我们自身并未察觉的未知。何的作品脉络参考一系列文学、艺术史和音乐的文献，一种被扩大强化的模糊、戏剧性和不安的感受充斥于其中。何借由身心两方面来调动观众多种感知，并促使其思考那些我们已知的和更为重要的未知。
何子彦曾在世界多地举办个展，包括汉堡艺术协会（2018）、上海明当代美术馆（2018）、横滨表演艺术论坛（2018）、香港亚洲艺术文献库（2017）、东京森美术馆（2012）、悉尼艺术空间（2011）、阿德莱德南澳大利亚当代艺术中心（2010）。此外，何曾代表新加坡参加2011年第54届威尼斯双年展。其群展包括第12届光州双年展（2018）、新加坡国家美术馆（2018）、达卡艺术峰会（2018）、柏林世界文化宫（2017）、纽约古根海姆博物馆（2016）、布里斯班现代美术馆（2016）、毕尔巴鄂古根海姆博物馆（2015）、广州时代美术馆（2013）和鹿特丹维特·德维茨当代艺术中心（2012）等。其还曾多次参加国际电影节，包括美国帕克城举行的2012年圣丹斯电影节、2009年第66届威尼斯国际电影节和2009年第41届法国戛纳国际电影节导演双周单元。何还曾于2017年完成香港亚洲艺术文献库的艺术家驻留项目。
©图片由ArtReview Asia提供
Image courtesy of ArtReview Asia
摄影 Photo by: Matthew Teo
A plethora of historical references dramatised by musical scores and allegorical lighting make up the pillars of Ho Tzu Nyen’s (b. 1976, Singapore) complex practice that primarily constitutes video and installation. Features in their own right, each film unravels unspoken layers of Southeast Asian history whilst equally pointing to our own personal unknowns. Permeating Ho’s work is a pervasive sense of ambiguity, theatricality and unease, augmented by a series of deliberate literary, art historical and musical references. Centrally, Ho charges the viewer emotionally and physically to deliver a multisensory consideration of what we know and crucially, do not.
Ho Tzu Nyen has been widely exhibited with solo exhibitions at Asia Art Archive, Hong Kong (2017); Mori Art Museum, Tokyo (2012); Contemporary Art Centre of South Australia, Adelaide (2010); Artspace, Sydney (2011); Substation Gallery, Singapore (2003). Furthermore, he represented Singapore at the 54th Venice Biennale (2011). Important group exhibitions include Guggenheim Museum, Bilbao (2015); Guggenheim Museum, New York (2013); Autonomous Zones, Times Museum, Guangzhou, China (2013); Surplus Authors, Witte de With, Rotterdam (2012); transmediale.11, Haus der Kulturen der Welt, Berlin (2011); No Soul for Sale, Tate Modern, London (2010); Asia Pacific Triennial, Queensland Art Gallery, Brisbane (2009); Thermocline of Art: New Asian Waves, ZKM Center for Art and Media, Karlsruhe (2007); Video Killed the Painting Star, Contemporary Center of Art, Glasgow (2007); Singapore Biennial (2006). He has participated in numerous international film festivals including the Sundance Film Festival in Park City, Utah (2012); 66th Venice International Film Festival (2009); 41st Directors’ Fortnight at the Cannes International Film Festival in France (2009). Ho has furthermore held a residency at Asia Art Archive (2017).