倪灏
光瘾炽爱
Ni Hao
Trust Me, Love Me
展览时间：2019年11月2日至2019年12月21日
开幕时间：2019年11月2日，星期六，下午6至8时
Duration: November 2–December 21, 2019
Opening: Saturday, November 2, 6–8 PM
结构研究 III，2014（局部）
混合媒材：昆虫，乐谱，灯泡
单通道录像，彩色，有声，10’14”
每张乐谱：29.7 x 21cm; 11 3/4 x 8 1/4 in
含框：46 x 36 cm ; 18 1/8 x 14 1/8 in
共15张
乐手：Rho Mei Yu
Structure Study III, 2014（detail）
Mixed media: nocturnal insects, scores, lightbulb
Single channel video, color, sound, 10’14”
Each score: 29.7 x21cm; 11 3/4 x 8 1/4 in
Framed: 46 x 36 cm; 18 1/8 x 14 1/8 in
15 in total
Percussionist: Rho Mei Yu
关于展览
About the Exhibition
Gallery Vacancy将于2019年11月2日呈现倪灏于上海的首次个展“光瘾炽爱”，作品围绕倪灏2014年所作的《结构研究III》而展开，透过声音、装置、录像等媒介，疏离日常物件并激发其背后的私人记忆和政治隐喻，体现艺术家对权力结构、消费主义、及暴力美学的探讨，展览将持续至12月21日。作为《结构研究III》的变体，人造光源与夜行昆虫成为“光瘾炽爱”中相互牵绊的隐喻，展览中的白织灯陷阱、昆虫与乐谱、及由之所生的谱曲和表演、录像和声音，构成了一组平行却又交织的连环作品，展出于画廊一楼的空间中。
夜行昆虫的趋光性触发《结构研究III》潜藏人为暴力的起点，钨丝灯泡上精密雕刻的“Trust Me, Love Me”字样，暗示演化机制与人造发明潜藏的背离与决裂：混淆了指引飞行的月光和人造光源，昆虫奔向死亡而毫无自知。光晕的浪漫和由之而生的杀戮，进一步导向展墙上的诸多乐谱，在倪灏的错用之中转换为诱捕器，昆虫受光吸引撞向涂布蜂蜜的空白乐谱，在夜晚的救赎中殉道，遗落的躯壳成为乐谱的注脚，于随后的录像中由乐手歌颂了那一夜的信仰。昆虫在延宕的馀音中此起彼落、在短促的敲击声中迎向死亡；琴音错落于展厅之中，先于视觉而成为观者进入展厅最先感知的声音——无法得知的是每一次共鸣管的发声都象征着一次一厢情愿的牺牲——反转了展览的顺序而部署了一场循环的表演。
倪灏保留了日常物件如白织灯泡、乐谱的原始形式，却在错用与重组中策动对物件的陌生化和重新想像，从而唤起异常的错位感。日常之中更为庞大的体制结构如何控制着生活，成为倪灏自2012年起综合性艺术实践的主轴。由人造光源无意间产⽣的杀伤力，以至精密设计的杀戮是对高科技与武器等当代地缘政治的考察，倪灏研究社会中不同形式的暴力机制与权力结构，揭开真实永远比艺术更为荒谬的轮廓。
结构研究 III，2014（录像截帧）
Structure Study III, 2014 (video still)
Gallery Vacancy is pleased to present Trust Me, Love Me, Ni Hao’s first solo exhibition in Shanghai, from November 2nd to December 21th, 2019. This exhibition expands from Structure Study III, created by Ni in 2014, investigating power structure, consumerism, and violence aesthetics by utilizing various mediums such as sound, installation and video. His practice constantly provokes political symbols or personal memories behind seemingly familiar objects. As an analogy of Structure Study III, the tangling relationship between artificial light and nocturnal insects becomes a metaphor throughout Trust Me, Love Me. The incandescent light traps, insects embedded scores, as well as the performance, video and sound generated from them constitute a series of paralleled yet interwoven works that are displayed on the first floor of the gallery.The phototaxis nature of nocturnal insects triggers the inquiry of human-induced violence in Structure Study III. The precisely engraved words, “Trust Me, Love Me,” on the tungsten bulbs suggests the divergence and rupture that lurks behind the evolutionary mechanism and the artificial invention: nocturnal insects blindly surge towards the deadly trap of artificial light, mistaken for the moonlight that guides night navigation. Transformed through Ni’s misdirection, the romantic vignetting and the slaughter ambushed underneath further leads to the scores on the wall, which ultimately convert into fatal entrapment. Lured by light, the insects blast into the glued musical sheet, martyring in the redemption of night, sacrificing their shattered remains as the footnote of the score, and later eulogized by the percussionist in the video. Fluttering along the rise and fall of the melody, the insects embrace their determined yet devastating journey in a rapid rhythm. As the viewers enter the exhibition room, sound becomes the primary perception before visual, which unexpectedly hints the cruel truth behind the seemly innocent audio, as every note delivered from the resonating tubes symbolizes a wishful sacrifice. Thus constructs a loop of performance staging under a reversed narrative. Ni retains the original form of real-life objects such as the incandescent light bulbs and scores, but accordingly instigates defamiliarization and re-imagination through reorganization, arousing a bizarresense of dislocation. How institutional structures control our daily life has become the main axis of Ni's comprehensive artistic practice since 2012. The accidental lethality combined with precisely designed killings of the artificial lights lead to establish a survey regarding contemporary geopolitic around high technology and weapons. Ni examines different modalities of violent mechanisms and power structures in society, disclosing the contoured reality, as the truth is always more absurd than art.
Structure Study III, 2014 (work in progress)
关于艺术家
About the Artist
倪灏 1989年生于台湾新竹。2011年获得芝加哥艺术学院学士学位；2014年获得罗德岛设计学院硕⼠学位。现生活工作于纽约和新竹。作品曾展出于罗克兰艺术中心、波士顿艺术中心、台北市立美术馆、新贝德福德美术馆、及皇后美术馆等。2018年，倪灏于第十二届光州双年展Pavilion计划“今天将发⽣”展出《结构研究V》；2019年于台北市立美术馆举办个展“伏击”、于Condo Shanghai时在Gallery Vacancy展出《结构研究I》、并于罗马T293画廊举办个展“Siege”。
Ni Hao was born in 1989 in HsinChu City, Taiwan. He received a BFA from the School of the Art Institute of Chicago in 2011 and an MFA from Rhode Island School of Design in 2014. He now lives and works in New York and HsinChu. Ni Hao's work has been featured in exhibitions at Rockland Center for the Arts, West Nyack; Boston Center for the Arts, Boston; Taipei Fine Arts Museum, Taipei; New Bedford Art Museum, New Bedford; and the Queens Museum, Queens. His recent solo exhibitions include Ambush at the Taipei Fine Arts Museum in 2019; Siege at T293 in Rome in 2019. Ni Hao’s work Structure Study V was showed in exhibition Aujourd’hui aura lieu at the Gwangju Biennale Pavilion Project, 2018; Structure Study I was displayed at Gallery Vacancy during Condo Shanghai, 2019.
V A C A N C Y
周二–周六
Tuesday to Saturday | 10:00–18:00
200040上海市静安区乌鲁木齐中路19弄2号
No. 2, Ln. 19, M. Wulumuqi Rd., Shanghai 200040
+86-(0)21-62411239
info@galleryvacancy.com
www.galleryvacancy.com