≡ 郑波 Zheng Bo
录像静帧 Video still
蕨恋IV Pteridophilia IV, 2019
4K录像，彩色，有声 4K video, color, sound
16 min
© 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
新展开幕 Upcoming Exhibition
巴塞尔艺术展迈阿密海滩展会
Art Basel Miami Beach
预览 Preview days：19.12.04 | 11 am - 8 pm
展期 Duration：19.12.05 - 12.08
地点 Address：
美国迈阿密海滩会议中心
Miami Beach Convention Center
1901 Convention Center Drive Miami Beach, FL 33139
(Scroll down for English version)
马凌画廊在此次2019巴塞尔艺术展迈阿密海滩展会上将带来郑波（1974年生于中国）的个展，其核心是探索生态酷儿的界限和潜力。郑波是一位致力于社会和生态变化的艺术家，通过促成人类个体与蕨类植物之间某种细腻又令人深思的交集，以揭示两者的酷儿特质。此次在巴塞尔艺术展展位上将展示《蕨恋》影片系列，其中将首次展示《蕨恋IV》（2019），这是郑波持续调查与蕨类植物亲密关系系列作品的第四件作品，同时还呈现了作品《生存手册II（手抄1945年《台湾野生食用植物图谱》）》（2016），一本罗列经鉴定的可食用植物以强调殖民主张的书籍以及《生存手册III（手抄1833年《备荒草木图》）》（2019），一本在江户时代天保大饥荒时期发布的帮助解决粮食短缺问题的书籍。
≡ 郑波 Zheng Bo
录像静帧 Video still
蕨恋IV Pteridophilia IV, 2019
4K录像，彩色，有声 4K video, color, sound
16 min
© 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
进入黑暗的展位，观众首先会被占据了展位最内侧一整面墙，循环播放的影片所吸引。Pteridophilia，一个生造词，由 pterido-（蕨类植物）和-philia（爱、迷恋）组合而成，假象了一个人可以和蕨类植物之间发生的亲密关系。影片《蕨恋IV》（2019）涉及伦理学，特别是人与蕨类植物幼苗（也被称为蕨菜）之间的关系。这些扁平线圈状如熏香的绿色蕨类幼苗给我们的日常生活带来不少启发，如小提琴的装饰元素（也称为涡卷形装饰），又如主教使用的卷曲的棒（也被称为牧杖）。拥有抗氧化功效的蕨类同样被广泛用于亚洲至法国北部的各种美食中。然而郑波想得更深远，提出了与蕨类植物发生性关系的道德问题。这样的行为是被允许的还是令人讨厌的？是取决于环境还是植物年龄？
郑波前三件探索蕨类食物、人类和欲望的作品也被展出，特别的是作品拍摄于蕨类植物密度最大的台湾，每平方米栖息着600多种种类。第一件作品叙述了六个男人与蕨类植物紧密接触，温柔地抚摸它们的经历。在第二件作品中，一个男人与鸟巢蕨做爱，随后又吃掉了这个植物。第三件作品中，郑波与当地的BDSM群体合作，将活动延展至三种当地的蕨类植物上。前三件作品以及《蕨恋VI》（2019）中首先浮现的问题是有关性和恋物癖的问题之一：对渴望取得联系并尽兴的接纳。然而，通过围绕性的公开论述，也揭露了规范和局限性，社会如此机械化以及趋向于反个人主义系统的问题。
≡ 郑波 Zheng Bo
生存手冊 III（手抄1833年《备荒草木图》）
Survival Manual III (Hand-Copied 1833 "Biko somoku zu"), 2019
纸本钢笔，共110页 Ink on paper, 110 sheets
每页 Each 18.4 x 13 cm
© 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
柜子中陈列的是郑波精心抄写的绘本,《生存手册II》（2016）和《生存手册III》（2019）。其中，《生存手册II》原书由日本殖民军在1895年至1945年占领台湾期间为了识别、展示食用植物而编写。其中记录着在丰富度和营养方面，蕨类植物居首位。该书是占领者为了生存的工具，指出了已经知道蕨类植物价值的当地土著人口的分裂，而这种重新记录的方式则标志着对某种知识的重新占有。因此，围绕生态的讨论不仅涉及植物和性，还涉及篡夺控制和政治参与。
最终，这次展位通过郑波的个展表述了某种边缘化，以温柔的试验性的方式结合社会压抑和表达，这样的考量适用于台湾和中国大陆，但也可扩展到全球范围适用于全球人类。
≡ 郑波 Zheng Bo
生存手冊 II（手抄1945年《台湾野生食用植物图谱》）
Survival Manual III (Hand-Copied 1945
"Taiwan’s Wild Edible Plants"), 2019
纸本钢笔，共105页 Ink on paper, 105 sheets
每页 Each 18.4 x 13 cm
© 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
What are the bounds of, and potential for, eco-queerness: therein lies the central probe of Edouard Malingue Gallery’s solo presentation with Zheng Bo (b. 1974, China) for Art Basel Miami Beach 2019. An artist committed to social and ecological change, Zheng Bo unravels the queerness of plants and people, mounting sensitive and thoughtful encounters between individuals and fern life. The booth will present the ongoing film project ‘Pteridophelia’ including for the first time ‘Pteridophelia 4’ (2019), the fourth chapter of Zheng Bo’s investigation into intimacy with ferns, alongside the open books ‘Survival Manual II (Hand-Copied 1945 “Taiwan’s Wild Edible Plants”)’ (2016) that addresses colonial assertion through the foil of identified edible plants and ‘Survival Manual III (Hand-Copied 1833 “Biko somoku zu”)’ (2019) that was released during Tempo famine in the Edo period to protect people from food shortage.
Entering the dark booth, the viewer is firstly struck by the films played on loop, spanning the width of the backmost wall. ‘Pteridophelia’, conceived by juxtaposing pterido- and -philia, imagines intimate relationships one can have with ferns. ‘Pteridophelia 4’ (2019) addresses ethics, in particular the relationship one can have with young ferns otherwise termed ‘fiddleheads’. These youthlings, a sprightly green that resembles flattened coils akin to incense, have inspired us in our everyday lives, from the ornamental element of violins otherwise known as a scroll, to the curled staff used by bishops otherwise termed a crozier. They equally are used in cuisines, from across Asia to northern France, valued for their antioxidant properties. Zheng Bo goes one step further, however, and addresses the morality of having sex with them. Are such actions permissible or repugnant? Is it a matter of context or plant age?
Also on display are Zheng Bo’s three previous film works exploring ferns, persons and desire, especially in the context of Taiwan that is home to the highest number of ferns per square meter and harbours over 600 species. In the first chapter, six men are shown in close contact with ferns, tenderly caressing them. In the second chapter a man makes love to a bird’s nest fern then eats it. In the third chapter Zheng Bo collaborated with local BDSM practitioners who in turn practiced with three local fern types. The questions that first surface in these three chapters, as well as ‘Pteridophelia 4’ (2019), are ones of sexuality and fetishisation - the acceptance of that yearning to connect and fulfill a pleasure. Through this overt discourse around sexuality, however, there is the question of norms and confines, how society is mechanised and/or tends towards an anti-individualistic system.
≡ 郑波 Zheng Bo
生存手冊 III（手抄1833年《备荒草木图》）
Survival Manual III (Hand-Copied 1833 "Biko somoku zu"), 2019
纸本钢笔，共110页 Ink on paper, 110 sheets
每页 Each 18.4 x 13 cm
© 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
Displayed in cabinets are the meticulously hand-copied versions by Zheng Bo, ‘Survival Manual II’ (2016) and ‘Survival Manual III’ (2019). ‘Survival Manual II ’ is a hand-copied version of an illustrated book created by Japanese colonial forces that occupied Taiwan between 1895-1945 that identifies and demonstrates edible plants. It notes, topping in terms of abundance and nutrition, ferns. A tool for survival by the occupied, the book points to the fragmentation with the local indigenous population that already knew to value ferns, while the re-transcription marks a certain re-seizing of knowledge. As such, the conversation around ecology extends beyond plants and sexuality to the usurping of control and political engagement.
Ultimately, the booth, through the lens of a solo project with Zheng Bo, is about marginalisation. Tenderly and tentatively, it engages with social repression and expression, a consideration that applies to Taiwan and China but extends globally to humanity across the globe.
艺术家简介 About the artist
郑波是⼀位致⼒于⼈和⼈之间以及不同物种间平等的艺术家。他从边缘⼈群和边缘植物的视⻆探查历史、想象未来，并试图学习及培育创建⼀个美好⼈类世的⽣态智慧。郑波曾与亚洲和欧洲的多家美术馆和艺术空间合作，最近的有第58届威尼斯双年展（威尼斯）、格罗皮乌斯博物馆（柏林）、Parco Arte Vivente（都灵）、立方计划空间（台北）、Villa Vassilieff（巴黎）、卡斯雕塑基金会（古德伍德）、四方美术馆（南京）和香港艺术馆。2018年，他的作品入选“第十二届欧洲宣言展”，“全球都市国际双年展”，“第十一届台北双年展”，“第二届银川双年展”，“第一届泰国双年展”。2018年，他结束了位于香港的亚洲艺术文献库的驻留项目。2020年，他的作品将在“利物浦双年展”展出。
© 图片由艺术家和马凌画廊提供
Image courtesy of the Artist
and Edouard Malingue Gallery
Zheng Bo is an artist committed to human and multispecies equality. He investigates the past and imagines the future from the perspectives of marginalized communities and marginalized plants. He is learning to cultivate ecological wisdom for a Good Anthropocene. Zheng Bo has worked with a number of museums and art spaces in Asia and Europe, most recently 58th Venice Biennale (Venice), Gropius Bau (Berlin), Parco Arte Vivente (Torino), TheCube Project Space (Taipei), Villa Vassilieff (Paris), Cass Sculpture Foundation (Goodwood), Sifang Art Museum (Nanjing), and Hong Kong Museum of Art. In 2018 his works have been included in Manifesta 12, Cosmopolis #1.5, the 11th Taipei Biennial, the 2nd Yinchuan Biennial, and the 1st Thailand Biennial. In 2018 he completed an artist residency at Asia Art Archive, Hong Kong. Upcoming exhibitions include participation in the Liverpool Biennial 2020.
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