TANK Artist Takeover | 谭婧的想象
谭婧
Instagram: @tanjingsophy
《但是我一个都没有…》现场图片，2018
But there is no one for me..., installation view, 2018
《但是我一个都没有…》现场图片，2018
But there is no one for me..., installation view, 2018
不同版本的《田螺姑娘》1984，1986，2019
Different versions of Snail Maiden, 1984, 1986, 2019
田螺姑娘搜索词条中出现的家庭摆设物件
Decorative ornament appeared on the results page when searching “Snail Maiden” online
在童话和民俗故事当中，有许多跨时空和跨地域的共通母题。过去两年中，我研究的《田螺姑娘》是“异型妻子”的典型文本。
人类如何运用动物的元素叙述历史，这些动物的元素如何在不同时期的故事变体中代表的人的欲望、恐惧、自然与女性的他者化等，都是我很感兴趣的地方。
在油罐的展览中的《但是我一个都没有…5》也是螺仙故事的变体。
In fairy tales and folklores, there are many common motifs across space, time and geographic regions. The Snail Maiden that I’ve been researching on in the past two years is a typical text of “animal bride.”
What fascinates me is how mankind uses animal elements to narrate history and how these elements represent human desires, fears, nature, the otherness of women and so on in variations of stories in different eras.
My work But there is no one for me…5 in the upcoming exhibition More, More, More is also a variant of the story of Snail Maiden.
摄影：王闻龙
Photographed by Alessandro Wang
一只巨大的蛞蝓爬过植物后遗留的黏液（图片来自网络）
The slime left behind after a giant slug crawling over some plants (photo from the Internet)
分享一些我作品遗留的痕迹，它们是我创作中非常着迷的部分。
I’d like to share some remaining traces of my work. They are the parts that fascinate me in my practice.
我在曾经的作品《COMMASENSE》中制作过一个大苹果，这是苹果打开之后的样子
I made a big apple in my previous work COMMASENSE. This is what the apple looked like after it was opened
公园里的树和工作人员用水泥制作的树桩长在了一起
A tree in the park and the trunk that park staff made of cement growing together
疫情期间，某个悲伤和焦虑的夜晚，这张知更鸟在小桃子上筑巢的图片治愈了我（图片来自网络）
On a saddening and anxious night during the pandemic, this picture of a mockingbird nesting on a little peach healed me (photo from the Internet)
《COMMASENSE》（样品）, 2017
COMMASENSE (sample), 2017
万物以它们自己的节奏和方式融合在一起的形式总是带给我带来很多的惊喜和感动。人们总说2020一切都停滞下来，我觉得这其实是一种非常人类中心主义的说法。隔离期间偶尔在外散步，发觉鸟儿们变多了，它们甚至停在了很多原本不敢落下的位置。
无法入眠的夜晚，我会反复地阅读托卡尔丘克的《太古和其他的时间》中“菌丝体的时间”这一章节。我获得了极大的宽慰，非常推荐给大家这一篇。
I’m constantly surprised and touched by the way that things in the universe merge in their own rhythms and manners. People keep saying that everything is stagnating in 2020, which I think is actually a highly Anthropocentric statement. I occasionally took a walk outdoors during the quarantine time, and I noticed there were more birds. They were even resting in places where they didn’t dare to before.
On sleepless nights, I’d repeatedly read the chapter “The Time of Mycelium” from Olga Tokarczuk’s Primeval and Other Times, which gives me tremendous consolation. I highly recommend this chapter to everyone.
《东北方向来的访客》特定场域作品录像截屏，受Salt Project Beijing和No Trace Art Season委托创作
Visitors from Northeast, screenshot of site-specific video installation, commissioned by Salt Project Beijing and No Trace Art Season
夜晚的时候，广州工作室窗帘上的影子
Shadows on the curtains of my studio in Guangzhou at night
商店门口的一串串装饰气球
Strings of decorated balloons at the shop front
我老家开平池塘边上的福寿螺卵
River snail eggs near a pond in Kaiping, my hometown
《东北方向来的访客》特定场域作品录像节选，受Salt Project Beijing和No Trace Art Season委托创作
Excerpt of Visitors from Northeast, site-specific video installation, commissioned by Salt Project Beijing and No Trace Art Season
最近看了很多关于动物如何在人类隔离期间占领城市的网络视频，其中有一只在马路上狂奔的野猪让我印象深刻。这种荒诞的感觉，瞬间将我拉回去年在马来西亚金之岛上做驻地的时候。我看到许多城市人来到这儿，带着对自然愉悦的想象，然而他们所期待的海岛景观早已充满了人造物。我之前的观察与创作，会将城市中的人造物想象成各类动植物。所以，当我看到马路上狂奔的野猪时，这一刻，城市与海岛的身份错乱了，这给我带来了极大的惊讶，原本在城市中的想象与错觉，竟然成真了！
Lately I’ve watched many videos online about how animals claimed cities during the quarantine period, and I was deeply impressed by a video of a wild boar running in the streets. This uncanny feeling immediately pulled me back to the time when I was doing my residency on the Dinawan Island in Malaysia last year. I saw many city people who went there with the joyful imagination of nature, yet the island landscape they were expecting was already full of man-made objects. In my previous observations and creations, I’d imagine man-made objects in cities as diverse flora and fauna. Therefore, it astonished me when I saw the wild boar running in the streets, as at this moment, the role of cities and that of islands got totally mixed up — my imagination and illusions of cities actually became the reality!
/// 关于艺术家
Tan Jing was born in 1992 in Guangdong, China. She obtained her BA in Chelsea College of Art in 2015 and her MA at the Royal College of Art in 2017. Tan is keen on experimenting with textures, materials, and form within sculpture and installation. Her practice combines her expertise in the unpredictable composition of materials and techniques, with her whimsical intertwist of elements from biology and folklore. Tan has been experimenting with recreating new versions of a story, by dint of the formation of speculative relations among personal experiences, folklores and historical trajectories, from imagined spaces navigated by flowing and straying experiential empathy. Her recent exhibitions include: But there is no one for me…, Bolingbroke Walk project, Yard gallery, Shanghai (2018); Space Chorus, Alt Handelsschule gallery, Leipzig, Germany (2018); Re-set, Baolong Art museum, Shanghai (2018); and Mut zum Hut! Hats off to hats!, Spielzeug Welten Museum, Basel (2019). Tan is the recipient of a fellowship at HB Station of contemporary art/research Center at Guangzhou for 2019-2020.
/// 关于展览 More, More, More
油罐艺术中心隆重呈现最新展览《More, More, More》，由Passing Fancy（朱筱蕤和弗雷德里克·克鲁兹·诺维尔）策划，埃莉斯·阿玛尼协助策划，展示28位艺术家新的委约作品和代表作。
《More, More, More》展览中的作品散布表达的种子，并把传播、不可翻译性和语言的外在性，视为交流的一个固有维度。本展览中的作品不停地泄漏、滴落、发芽、重复：，需要翻译、染色、分泌；发声、磕磕巴巴、反射和发光，“沾湿一切”，并扭动。这些作品在不停地生长，通过不同的方式，来回答最初的关于感知和形式的问题。
TANK Shanghai proudly presents our upcoming exhibition More, More, More. Curated by Passing Fancy [X Zhu-Nowell & Frederick Cruz Nowell], with Elise Armani, More, More, More includes new commissions and existing works by 28 international artists.
Works in this exhibition leak, drip, sprout, repeat:, require translation, stain, secrete; utter, stutter, reflect, and glow, “wet everything," and wiggle. These are projects that grow, in different ways, from questions that, in earlier incarnations, were directed to feeling and form.