艺博会 Art Fair | Liste Art Fair Basel: 倪灏：泡沫之拥 The Lathery Enfold

格 XV（保护色），2022

宜家JONAXEL储物组合，微波后的谷氨酸皂基，Snuggle扩香条（雪松木）

42 x 52 x 49.5 公分（16 1/2 x 20 1/2 x 19 1/2 英寸）

Grid XV (crypsis), 2022

IKEA JONAXEL wire basket and frame, microwaved glutamic acid soap base, Snuggle reed diffuser (cedarwood)

42 x 52 x 49.5 cm (16 1/2 x 20 1/2 x 19 1/2 in)

巴塞尔Liste艺术博览会

Liste Art Fair Basel

Booth 09

倪灏

泡沫之拥

Ni Hao

The Lathery Enfold

VIP预览 VIP Preview: 2022.6.13 11:00–18:00

公众日 Public Opening: 2022.6.13 18:00–20:00、2022.6.14–18 12:00–20:00、2022.6.19 11:00–16:00

地点 Location：Messe Basel Hall 1.1. Maulbeerstrasse / corner Riehenring 113, 4058 Basel

关于展位

About the Project

Gallery Vacancy荣幸地宣布于Liste Art Fair Basel展出艺术家倪灏的个人项目“泡沫之拥”，展期为2022年6月13日至19日。“泡沫之拥”延续了倪灏对身体与社会系统性规训机制的探究，以网格系统和语言为起点，引出一种存在于规则与被规范主体之间深刻的亲密关系。通过家中常见大批量生产的材料进行运用，如宜家搁架、加湿器和印花T恤等，艺术家试图对人类与其生存环境之间的张力进行解析，并以一系列的架上和独立雕塑作品来呈现全球化、消费主义和人类中心主义中所暗藏的暴力。

《格》系列源于艺术家对现代化居住空间的反思，在身体与浴室之间亲密又脆弱的关系当中，来审视资本主义通过消费为手段而推崇关乎身体的仪式性行为。《格》系列以雕塑的形式呈现，将手工制作的香味肥皂与大规模生产的宜家沥水架结合为一体，令一种没有固定形态的有机物跟标准化的工业物品产生碰撞。作为重要的居家物件，肥皂在倪灏的作品中不仅作为有机生命体的比喻，且更延伸被视为确认生存活动的证据。被挤压、形塑、倒模后，肥皂的物理状态被外部的网格结构所决定，暗指了一系列对身体进行规训的无形系统和结构，工具化身体以迎合资本主义对高产、高效的要求。在搓洗、揉擦和溶解的过程中，肥皂和身体此消彼长的互动也指向了现代个人卫生的维护常以自然环境为代价。在全球疫情的背景之下，洗手这一习惯性动作促使人们对进入现代社会以来，以个人卫生为美德进行即刻的反思：为了维持社会认可的身体而去反复不断进行清洁无可避免地会对身体造成有害的影响。在雕塑简洁光净的外表下，艺术家试图揭露出一层充斥在我们日常生活中沉潜的制约。

呼哈 X 5000，2022

宜家IDÅSEN抽屉柜带脚轮，3D打印加湿器，防水密封剂，书法水写布，铝框，马达，有机玻璃，电子元件，树脂，棉，以及混合媒材

163 x 46 x 42 公分（64 1/8 x 18 1/8 x 16 1/2 英寸）

Halitus X 5000, 2022

IKEA SPIKAHULT Dish drainer, Febreze Toilet Deodorizer-Natural Mountain Air, microwaved transparent melt & pour soap

163 x 46 x 42 cm (64 1/8 x 18 1/8 x 16 1/2 in)

在《呼哈 X 5000》（2022）和《呼呵 X 4000》（2022）中，浴室空间和有机生命体的意象以转瞬即逝的蒸汽来传达。在这个系列作品中，倪灏将传送带系统改造成一台水写书法机器：内置的加湿器向传送带上不停转动的水写书法布呵出蒸汽，使书法练习格中的图像得以显现。艺术家不仅再次捕捉了无形有机物与标准化结构的互动关系，而且指向了华语世界中经年累月的书法练习传统。仪式化的书法练习和填充着当代居住空间的智能家电共同映射了当代人对理想中产生活方式的一种内化的拥护，而这些物件和行为所同时暗含的规训、秩序和控制往往具有一重永久性，艺术家刻意将书法水写布上短暂停留的未来主义风格绘画与之形成对比。水写书法传送带的往复循环抹除了出口与终点，以隐喻受预设形式桎梏下有限的身体。

SOPT，2022

棉，树脂，木材，乙烯基塑料

35 x 65 x 55 公分（13 3/4 x 25 5/8 x 21 5/8 英寸）

SOPT, 2022

Cotton, resin, wood, vinyl

35 x 65 x 55 cm (13 3/4 x 25 5/8 x 21 5/8 in)

这种现世却又无形的身体在错落分布于展厅中央的一系列雕塑作品中被进一步呈现。在这些雕塑中，艺术家采用新竹本地大批量生产的印花T恤为原始材料。T恤上拼错的字母单词给予观者一种特殊的体验：尽管通过倒置字母效应能分辨出单词，但任何试图去理解这些错置语句的尝试都是徒劳与枉效的。受全球化影响，廉价服装制造业对网络上现成的印花设计进行局部的复制和粘贴以规避版权侵犯，由此诞生的拼贴式字母设计大量呼应了东亚文化圈普遍存在的“Engrish”现象（既非英语母语者使用的错误英语文法）。巧合的是，这些毫无意义的文本通过被身体穿戴的形式广泛流动于我们的日常生活当中，其不正确、不符合语法的组合方式与达达主义产生了微妙的联系。这些暗示不在场的人或动物的镂空硬壳彰示了一种无形的力量，在进行对话的同时激活了包裹整个展厅的静态的《格》系列作品。借用与网格系统相似的比喻，这些雕塑具象化了形塑有机生命体的界线和限制。

借用了现代性的美学和美德，“泡沫之拥”通过亚洲视角探究潜藏在我们日常行为中的那些不易被觉察到的系统机制。该系列所呈现的作品通过剖析物质性，形式和美学中所涵盖的大量复杂且有趣的面向，揭示了隐匿于整洁、整齐和有益性表象下复杂的暴力性。考虑到这些自相矛盾的状态，艺术家有意识地将他的作品与贯穿整个现代艺术史且不断发展的形式主义限制并置，以讽刺的暗示为驱力，挑动和再利用这些标准化的工具。在倪灏诗意的探究中，他的作品细致地筛选日常生活中的平凡细节，暴露其中最本质的系统，精准指出美好事物和日常规范中难以察觉却无处不在的危机与压迫。

格 XVI（炎症），2022

无印良品不锈钢瓶架，无患子氨基酸皂基，红曲霉粉末

30 x 10 x 5.5 公分（11 3/4 x 4 x 2 1/8 英寸）

Grid XVI (inflammation), 2022

Muji stainless steel bottle rack, Sapindus melt and Amino acid melt and pour soap base, Monascus purpureus powder

30 x 10 x 5.5 cm (11 3/4 x 4 x 2 1/8 in)

Gallery Vacancy is pleased to announce artist Ni Hao's solo project The Lathery Enfold at Liste Art Fair Basel, on view from June 13–19, 2022. Continuing Ni's investigation of systemic mechanisms that regulate the societal bodies, The Lathery Enfold elicits a profound intimacy that existed in these prescribed rules of being, specifically revealing in the devices of the gridded system and language. Throughout his engagement with mass-produced materials commonly found in the domestic setting including IKEA racks, humidifiers, and graphic t-shirts, the artist seeks to allegorize the tension between human beings and the environment, illuminating the latent violence exerted by individualism, consumerism, and anthropocentrism via a series of wall-mounted and freestanding sculpture works.

Resulting from an inward examination of the home, the Grid series identifies an intimate yet vulnerable relationship between the body and the bathroom space, meanwhile scrutinizing bodily rituals popularized under capitalist consumerism. Epitomized in sculptural forms, the series merges the handmade scented soap with mass-produced IKEA racks, colliding an amorphous organic substance with a standardized industrial object. As a quintessential household item, the soap in Ni's work serves not only as a metaphorical extension of the living entity but also a device of affirmation of the body's livelihood. The portrayed state of soap, compressed, molded, and shaped by an external structure, alludes to numerous oblivious structures and systems imposed by human beings to regulate the body, catering to the capitalist agenda of efficiency and productivity. Scrubbed, scraped, and dissolved, the soap and the body hold a curious relationship in which each scrupulous interaction purported by hygiene seems to be at the cost of our living environment. Against the backdrop of a global pandemic, the habituating act of handwashing prompts an urgent reflection on the socialization of personal hygiene since modernity; the exhaustive effort committed to cleansing inevitably underwrites a detrimental compromise for the maintenance of the clean and proper body. Underneath the pristine outlook of the sculpture, the artist oftentimes conceals a layer of self-inflicting violence that is perpetual and pervasive in our daily lives. 

The sensibility of the bathroom space and the organic body is further captured through the ephemeral steam portrayed in Halitus X 5000 (2022) and Spiritus X 4000 (2022). In these works, Ni transforms the conveyor belt system into a water calligraphy machine: the built-in humidifier diffuses steam to enable images to develop on the looping gridded practice paper. While again a formless organic body is regulated by a modular structure, the works nonetheless address the Sinophone experience of perennial calligraphy practice. The ritualistic calligraphy practice and the omnipresent smart home appliances in the contemporary households are both evidence of an internalized embracement of an idealized middle-class lifestyle, whereas regulation, order, and control manifested through these objects and activities contain a permanent stature that Ni deliberately sets off against the temporally revealed Futuristic drawings on the looping grids. The cyclical process of water calligraphy obliterates an exit or result, accentuating the transient body entrapped in this preordained mediating form. 

SAMFNXOY，2022

棉，树脂

15 x 52 x 50 公分（5 7/8 x 20 1/2 x 19 3/4 英寸）

SAMFNXOY, 2022

Cotton, resin

15 x 52 x 50 cm (5 7/8 x 20 1/2 x 19 3/4 in)

The temporal yet invisible body is foregrounded in the group of freestanding works scattering around the central space of the booth. In these sculptures, the artist employs locally sourced mass-produced graphic t-shirts from Hsinchu as the primary material. The misspelled lettering on the t-shirts provokes a particular sensation in the viewer: while one experiences the transposed letter effect reading the printed text, one quickly comes to realize that any attempt to interpret the meaning is futile. Indebted to globalization, the cheaply manufactured clothing manipulates internet-found designs by partially copying and pasting to avoid copyright infringement, which simultaneously echoes the Engrish phenomenon widely seen in Asian countries. Coincidentally, the free-flowing nonsensical texts over the wearing bodies forge a mischievous link to Dadaism with the incorrect and ungrammatical combination of words. The hollowing shells that create silhouettes to indicate absent human beings and animals serve purposefully as a means to enunciate the invisible forces, which communicate with and activate the static Grid series enveloping the central space. Drawing on a similar metaphor, the sculptures animate the form-fitting bounds and limits imposed on the organic body. 

The Lathery Enfold probes into the oblivious systems underlying our everyday engagement from an Asian perspective, borrowing the aesthetics and virtues of modernity. The series of works slice through a myriad of complex and intriguing aspects across materiality, form, and aesthetics to unveil the intricacy of violence disguised under an appearance of neat, tidy, and benevolent. Bearing these paradoxical states in mind, the artist consciously puts his works in dialogue with the formalist constraints developed throughout modern art history, whereas titillating and repurposing the standardized tools with a hint of irony. In Ni's poetic endeavors, his artworks meticulously sift through the mundane details of living, strip it down to the essential systems, and accurately pinpoint the danger in beauty and norm.

关于艺术家

About the Artist

倪灏，1989年出生于台湾新竹，现工作生活于新竹和纽约。2011年获得芝加哥艺术学院学⼠学位并于2014年获得罗德岛设计学院硕⼠学位。倪灏通过雕塑，影像等多种媒介疏离日常熟悉的物件并激发其背后的政治隐喻或私人记忆。倪灏也以此展开他在权力结构，消费主义，暴⼒美学等方⾯的探索。近期个展包括：“光瘾炽爱”，Gallery Vacancy，上海，2019；“Siege”，T293，罗⻢，2019；“伏击”，台北市立美术馆，台北，2019。过往群展于：UCCA尤伦斯当代艺术中心，北京；台北当代艺术馆，台北；罗克兰艺术中心，西奈阿克；波士顿艺术中心，波⼠顿；台北市立美术馆，台北；新贝德福德美术馆，新贝德福德及皇后美术馆，皇后区等。2020年，倪灏入围第八届华宇青年奖。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》。倪灏的作品于香港录映太奇媒体艺术收藏、⾸尔MMCA国立现代美术馆、及意⼤利那不勒斯Collezione Taurisano收藏。

Ni Hao, born in Hsinchu, Taiwan in 1989, now lives and works in Hsinchu and New York. He received a BFA from the School of the Art Institute of Chicago in 2011 and an MFA from the Rhode Island School of Design in 2014. Ni Hao investigates power structure, consumerism, and violence aesthetics in his practice by utilizing various mediums such as sculpture and video. Ni’s practice constantly provokes political metaphor or personal memories behind seemingly familiar objects. Recent solo exhibitions include: Trust Me, Love Me, Gallery Vacancy, Shanghai, 2019; Siege, T293, Rome, 2019; Ambush, Taipei Fine Arts Museum, Taipei, 2019. Ni's works have been featured in group exhibitions at UCCA Center for Contemporary Art, Beijing; MOCA Taipei, Taipei; 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. Ni Hao was a shortlisted candidate at the Eighth Huayu Youth Award in 2020. His Structure Study V was exhibited in Aujourd’hui aura lieu at the Gwangju Biennale Pavilion Project, 2018. Works by the artist are included in the collections of VMAC in Hong Kong, MMCA (National Museum of Modern and Contemporary Art) in Seoul, South Korea and Collezione Taurisano in Naples, Italy.

更多关于艺术家

More about the artist 

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周二–周六

Tuesday to Saturday | 10:00–18:00

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5F, No. 660, M. Sichuan Rd., Shanghai 200002
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