新展预告｜Some kinds of queery 一种奇异
Some kinds of queery
一种奇异
参展艺术家 Artists：
Tris Bucaro
Edward Thomasson
Bryson Rand
Kanthy Peng（阚辛)
William Zou（邹威廉)
Amiko Li（李文嘉)
Matthieu Croizier
Bowei Yang（杨博炜)
Zhidong Zhang（张之栋）
展期 Duration :
9月25日-11月25日 2022年
12:00-19:00 （周一 周二 闭馆）
25 Sep - 25 Nov 2022
12:00-19:00 （Closed on Monday and Tuesday）
开幕时间 Opening：
9月24日 2022年 15:00
15:00 24 September 2022
票务信息 Tickets：
展览地址 Address：
杭州上城区凤山路79号二商场商业储运中心3仓3楼cusp.
Hangzhou storage and transportation co. ltd building 3 floor 3,303cusp.
展览简介 Introduction：
“一种奇异”象征了性别二元论世界的灰色地带，在此次展览中艺术家通过学习，表演，修辞等方式去探索与挑战两分结构的性别话语。威蒂格(Monique Wittig)曾提出社会契约是异性恋的。在集体潜意识的作用下，似乎二元的性别世界是更为稳定的化合物。而“一种奇异”正是在寻找一个在这个父权异性恋结构下的界线。犹如在这些界线上走钢丝的杂技演员，在这些艺术家眼中这种奇异身份(queer identity)更像是多重的，不稳定的一种可能。
身体作为个体获取主体身份的工具，一种异性恋矩阵(heterosexual matrix)框架了人们对于身份的理解。在 “The Talking Body” “说话的身体” 的章节里，Tris Bucaro通过记录身体的痕迹抹去作为主体的身体，强调了区别于异性恋矩阵的欲望，他感性的文字与“曾在”的痕迹传递出另一种非常态(non-straight)的性感。Matthieu Croizier 通过自我表现，用身体作为原材料，在与周围简单事物的对话里重组身体部位虚构超现实的表达，同时他围绕男性的身体快感创作了一系列的关于身体身份的图像。Edward Thomasson的创作大多与受过训练和未经训练的表演者合作制作视频与戏剧，探索如何使用表演来解决个人、人际关系和职业问题。
“一个人不是生而为女人，而是成为一个女人。”⻄蒙娜·德·波伏瓦(Simone de Beauvoir)的宣言将性别定义为更为主观的主体体验，在这样的世界里，性别与意识密不可分，更像是可以流动不被固定的液态物。在“ Streaming Consciousness” “流动的意识”的章节中，邹威廉(William Zou)将自我视作投射物，在表演他者的过程中，他描绘了一个没有边界，定义，绝对可能的身份。这样的身份在男性与女性，主体与客体的意识里转换，怪异却又并无攻击性。李文嘉(Amiko Li)的创作则是在强调自我身份的主体性， 通过与女性⻆色互动的表演里，Amiko将诗歌语言结构作为切入口，将一种非常态的女性气质融入自己的影像与文字创作。
人们用符号阅读符号，而符号意义多数也是成立于这个异性恋矩阵。因此在“ Queer Rhetorics” “奇异的修辞”章节里， 创作者多从话语符号入手，改造符号意义，试图在这个非二元语境里开拓新的叙事。阚辛(Kanthy Peng)的创作基于中国传统故事中的女性形象，通过影像符号重新解码身份与性别的联系，在反抗父权社会的男性凝视的同时也尝试在这种奇异身份下寻找女性气质新的表达。杨博炜(Bowei Yang)的实践试图用单一符号在不同语境下的歧义制造叙事的多种可能性，在搜集与反思日常物件的符号解读中，他也将摄影的提喻逻辑带入这种奇异身份的语境下组建故事。在《自然模仿》系列 中，张之栋(Zhidong Zhang)的创作不断在探索酷儿身份、主体、奇观之间的关系，他更是将自己的创作描述为“充满幻想、创伤、恋物和暴力的场景”。
Some Kinds of Queery
In this exhibition, the artist explores and challenges the dichotomous structure of gender discourse through learning, performance, and rhetoric. French theorist Monique Wittig alludes to gender roles as socially enforced and first coined the term “heterosexual contract”. Under a patriarchal social framework, the binary gender has become a “stable” compound while queer identities have to wire-walk their way towards an unknown destination. Dedicated to investigating the grey area under the binary gender, cusp. is introducing a group of queer artists of different backgrounds to take part in queering and querying the existing system. Through the representation of queer acquisition, performance, rhetorics, and various other radical or subtle approaches, these artists are many more volatile possibilities, with “Some kinds of Queery”.
Judith Butler argues that gender is constructed through a “Heterosexual Matrix”, and many do not see that body is one of the main devices that first access and acquire identities.
The Talking Body
In Tris Bucaro’s works, the traces of the body is eradicated to accentuate the body as the subject portrayed, therefore highlighting a queer desire different from the heterosexual matrix. His personal writings, along with the traces of “once there” creates a candid aesthetics of the non-straight. Through self-expression, Matthieu Croizier uses the body as initial material to reconstruct the fictitious and surreal expressions of body parts in dialogue with the simple objects around him. At the same time, he creates a series of images of bodily identity around male physical pleasure. Edward works with trained and untrained performers to make videos and plays that explore how performance is used to navigate personal, interpersonal, and occupational problems.
Streaming Consciousness
Simone de Beauvoir’s manifesto, “one is not born a woman but becomes one” attributes sex and gender as a much more subjective experience. Under this framework, gender and self-consciousness are inseparable and in a constant state of flux. Departing from personal experience and history, William Zou remaps queer and diasporic identities within changing spatial-temporal relationships in the process of self-archiving and highlights different aspects of identities that are desired, disrupted, and dismissed. In Amiko Li’s works, Li underscores the subjectivity of the self. Using poetry and as a structural entry point, Li performs with the female characters in his works and projects himself into the femininity manifested within the texts.
Queer Rhetorics
People use signs to understand another sign, yet meanings are often formed upon signs revealed under the heterosexual matrix. In the chapter on Queer Rhetorics, artists attempt to extend and expand the narrative under a non-binary context. Kanthy Peng’s creations are grounded in female representations from traditional Chinese tales. By reassigning the relationships between photographic signs and identities, Peng is actively seeking new representations of femininity and subverting the male gaze. In Bowei Yang’s practice, a singular sign is often explored repeatedly to generate deliberate ambivalence in the narrative, thus, also relocating the meaning of the sign. In collecting and reevaluating daily objects, he also employs photography as a synecdoche device to rewrite the queer narrative. In Natural Impersonation, Zhidong Zhang explores the relationship between queer identity, subject, and spectacle, he describes his works as “alluring and voyeuristic scenes inflected with fantasy, trauma, fetish, and violence.”
展览地图 The Map：
The Talking Body
说话的身体
Matthieu Croizier
Untitled (Foot on head), from the serie Everything goes dark a little further down, 2020
这里展示的两张图片来自项目 Everything goes dark a mile further down，这是对畸形概念的个人探索，也是对我自己不同身份的探索。作为一个出发点，我研究了历史上对畸形的构建，从19世纪歇斯底里的发明到畸形表演的作用，在那里，舞台是必不可少的，图像被操纵，在加强规范方面发挥了重要作用。我们坚持对美的二元观念，积极区分什么是美丽和丑陋、疾病和健康、正常和不正常。我想通过这件作品模糊这些想法，表明畸形存在于我们所有人的内心，它是一个随着时间推移而被塑造和构建的概念。
通过自我表现，用我的身体作为原材料，我试图从我周围的简单事物中制造出怪异，拥抱它而不是拒绝它。我开始着迷于重新使用某些污名化的术语，如 ‘freak’, ‘queer’, ’faggot’，作为一种反抗的形式，并将感知到的弱点变成力量。这就是真正激发这个项目的原因，通过它我决定宣称我自己的畸形。这是给不正常的人的一封情书，是对正常人的放弃。
参照医学或解剖学的图标，我试图解构身体的规范表述。一个身体在多大程度上是一个身体，以及它如何能从限制它的规范中解放出来？这些照片描绘了一种非同寻常的变形行为，碎片被融合在一起，创造了新的东西。尽管图像具有壮观的美感，但这只是一场平庸的展示，起初看起来令人不安的畸形，最终揭示了其自身的构造。
其中有一张是我男朋友的照片。它不是任何特定项目的一部分，但同时也与我的一般实践相联系。我们通过摄影玩了很多，我们完全可以自由地一起创造图像，我喜欢这样！当然，也有一些想法和痴迷在我的图像中反复出现，围绕着身体、身份探索的行为、取向的认知和乐趣。
Two of the images shown here come from the project Everything goes dark a mile further down, which is a personal exploration of the concept of monstrosity, as well as an exploration of my own queerness. As a starting point, I examined the construction of monstrosities throughout history, from the invention of hysteria in the 19th century to the role of freak shows, where staging was essential and images were manipulated to play a vital role in reinforcing the norm. We hold on to binary ideas of beauty, actively distinguishing between what is beautiful and ugly, sick and healthy, normal and abnormal. I wanted to blur these ideas with this work, to show that monstrosity exists within us all and that it is a concept that has been shaped and constructed over time.
Through self-representation, using my body as raw material, I seek to fabricate monstrosity out of simple things surrounding me, to embrace it rather than reject it. I became fascinated by the reappropriation of certain stigmatizing terms such as ‘freak’, ‘queer’, and ‘faggot’ as a form of resistance, and by turning perceived weaknesses into strength. That is what really inspired this project, through it I decided to claim my own monstrosity. It is a love letter to the abnormal, a renunciation of being normal.
In reference to medical or anatomical iconography, I try to deconstruct normative representations of the body. To what extent is a body, and how can it free itself from the norms that constrain it? The photographs depict an extraordinary act of metamorphosis, where fragments are melded together to create something new. Despite the spectacular aesthetics of the images, it is just a show of banalities and the monstrosity, which seems disturbing at first, ends up revealing its own construction.
One image in the exhibition is a picture of my boyfriend. It is not part of any specific project, but at the same time connects also with my practice in general. We play a lot through photography, we are completely free to create images together and I love this! And of course, there is some idea and obsessions that are recurring in my images, which revolve around the body, gay sexuality, queerness, and fun.
Matthieu Croizier（1994, he/him）是一位驻扎在瑞士洛桑的艺术家和摄影家。在2020年从ECAL（洛桑州立艺术学院）毕业后，他现在在委托作品和个人项目之间分配时间。他是巴黎摄影组织的Carte Blanche Etudiant 2020的获奖者，他被英国摄影杂志提名为2021年的未来人才以及2021年值得关注的人物。 他目前正在写他的第一本书 Everything goes dark a little further down ，由Mörel出版社出版。
Matthieu Croizier (1994, he/him) is an artist and photographer based in Lausanne, Switzerland. After graduating from the ECAL (Ecole cantonale d'art de Lausanne) in 2020, he is now dividing his time between commissioned work and personal projects. He is a laureate of the Carte Blanche Etudiant 2020 organized by Paris Photo, and he has been nominated as a Future Talent in 2021 as well as Ones to Watch 2021 by the British Journal of Photography. He is currently working on his first book, Everything goes dark a little further down, published by Mörel Books.
Tris Bucaro
Stain I, 2019
The Height of Heaven 将艺术家置于一种后亲密关系的状态，研究性接触的残留物和遗迹的过渡状态，并考虑触觉对边缘空间的影响。这些照片植根于产生视觉可触性的行动中，作为这些空间-时间中不再存在的痕迹的文件，达到一种永久。
The Height of Heaven positions the artist in a state of post-intimacy, examining the transitional state of remnants and remains of sexual encounters and considering the implication of haptics on liminal spaces. Rooted in the action of generating visual tangibility, the photographs act as documents of the marks which no longer remain in these space-times, reaching for a sense of permanence.
Tris Bucaro 出生于1994年, Tris Bucaro 是一位驻伦敦的视觉艺术家，他的实践通过摄影、电影、雕塑和表演来面对自我形象、亲密关系和姿态。他的研究考虑了自我在图像中的位置以及整体性和无常性之间的摆动，利用自画像作为研究照片再生性质的手段。教育背景：英国皇家艺术学院摄影硕士皇家艺术学院摄影硕士，2020年纽约大学Tisch艺术学院摄影和影像学学士，辅修艺术史，2017年。
b. 1994 Tris Bucaro is a visual artist based in London whose practice confronts the self-image, intimacy, and gesture through photography, film, sculpture, and performance. His research considers the location of the self within an image and the oscillation between totality and impermanence, utilizing the self-portrait as a means of examining the regenerative nature of the photograph.
Education：
MA Photography, Royal College of Art, 2020
BFA Photography and Imaging, Minor in Art History, New York University, Tisch School of the Arts, 2017
Bryson Rand
Two Balls/Disco (PAT, Brooklyn), 2016
我出生在 AIDS 危机开始的时候，我的大部分时间是在没有之前的人的指导和支持下度过的。在很大程度上，通过我追前人的摄影记录，我能够接触和理解那些在死亡和壁橱中消失的人的故事和文化对他们的影响。通过我的工作，我运用了之前的不同群体的人在面对损失、悲痛和照顾时采用的文化生存和寻找快乐的能力的教训。与那些在我之前的人一样，我对这个世界感到不满，并利用艺术创作来呈现一个以慷慨和关怀为中心的替代领域。通过将人、群体、空间和历史的照片汇集到作品中，我希望向塑造了我作为一个不同群体的经历的影响致敬，并使作品成为过去、现在和未来几代人之间的代际联系。 作为一个不同群体的参与者，我们通过为自己设定存在于社会规范之外的规则来寻求生存。当我们庆祝我们找到的茁壮成长的方式时，我们也必须驾驭我们所经历的集体和个人的损失。这两张照片都是为了揭示这两种经历同时存在的空间而拍摄的。在一家夜总会拍摄的 Two Balls/Disco，将镜头从派对本身转向了灯光和烟雾机之间的梦幻般的游戏。这张照片是在奥兰多脉动夜总会发生暴力袭击事件后不久拍摄的，它既承认了在不同群体的空间中可以找到的释放和舒适感，也承认了不同群体的大家生活中永远存在的哀悼和损失历史。同样，Untitled (Brooklyn) 存在于性的喜悦和缓解之间的空间，以及对了解和体验那些被AIDS危机夺去生命的人的生命和身体的渴望。我认为这些作品是对我们所悼念的人的致敬，也是对未来的渴望。
Having been born at the onset of the AIDS crisis, much of my life was spent without the guidance and support of queer elders. It is in large part through the photographic records of my forebears that I have been able to access and comprehend the stories and cultural impact of those who were lost to death and the closet. Through my work, I apply the lessons of cultural survival and the ability to find the joy that my ancestors employed in the face of loss, grief, and caretaking. Much like those who came before me, I feel dissatisfied with the world and use artmaking to present an alternative realm that is centered on generosity and care. By bringing together photographs of people, communities, spaces, and histories in sequences and artist books, I hope to pay tribute to the influences that have shaped my experience as a gay man and make work that is an intergenerational link between past, current, and future generations.
As queer people, we find survival by setting rules for ourselves that exist outside of societal norms. While we celebrate the ways we have found to thrive, we must also navigate the losses we have experienced collectively and individually. Both of these photographs were made in an attempt to reveal spaces where both of these experiences exist simultaneously. Made at a queer nightclub, Two Balls/Disco turns away from the party itself, focusing on the dreamy play between the lights and smoke from the fog machine. Made soon after the violent attack at Pulse nightclub in Orlando, the photograph acknowledges both the sense of release and comfort that can be found in a queer space and the mourning and history of loss that is everpresent in the lives of queer people. Similarly, Untitled (Brooklyn) exists in the space between sexual joy and relase, and a longing to know and experience the lives and bodies of the people who's lives were cut short by the AIDS crisis. I see these works as tributes to those we mourn as well as a projection of what the future holds.
Bryson Rand 1982年出生于亚利桑那州的凤凰城。2019年，他就读于斯科赫根绘画和雕塑学校，并拥有耶鲁大学艺术学院的艺术硕士学位（2015年），视觉艺术学院的艺术教育硕士学位（2009年），以及科罗拉多大学的艺术学士学位（2004年）。Bryson 的首次个展 "一些小热 "于2017年在纽约La MaMa画廊举行，他的首次双人展 "马具 "与帕特里克-麦克纳布于2022年在纽约The Empty Circle举行。他的作品在美国各地的Fraenkel画廊、Regen Projects、Yossi Milo画廊、Leslie-Lohman艺术博物馆、蓝天画廊举办过联展，也在柏林的Denker+Schneider画廊和墨西哥城的Museo Universitario Del Chopo举办过国际展览。布赖森的作品被莱斯利-洛曼博物馆、奥兹艺术馆以及众多私人收藏。他与Raw Meat Collective出版了三本书（The Company We Keep, Some Small Fever and The Origins of Color with Vincent Tiley），与Dashwood Books出版了一本（Waters），他的作品被Matte Magazine, NEWSPAPER, Der Grief, Artforum.com, Dear Dave, and Vice报道过。自2021年以来，他一直是巴德学院的摄影客座助理教授，并在哈佛大学、SAIC、视觉艺术学院、卫斯理大学、亚利桑那大学和缅因州艺术学院等担任客座讲师和评论员。他和丈夫Ryan以及他们的狗Frankie和Beans在布鲁克林生活和工作。
Bryson Rand was born in Phoenix, AZ in 1982. In 2019 he attended the Skowhegan School of Painting and Sculpture and holds an MFA from Yale School of Art (2015), a Masters in Art Education from School of Visual Arts (2009), and a BFA from University of Colorado (2004). Bryson's first solo exhibition, Some Small Fever, was held at La MaMa Gallery, NYC in 2017, and his first two-person show, Harness, with Patrick Mcnabb, was held at The Empty Circle, NYC in 2022. His work has been exhibited across the United States in group exhibitions at Fraenkel Gallery, Regen Projects, Yossi Milo Gallery, The Leslie-Lohman Museum of Art, Blue Sky Gallery, as well as internationally at Denker+Schneider Gallery in Berlin, and at Museo Universitario Del Chopo in Mexico City. Bryson’s work is held in the collections of the Leslie Lohman Museum, Oz Art, as well as numerous private collections. He has published three books with Raw Meat Collective (The Company We Keep, Some Small Fever, and The Origins of Color with Vincent Tiley), and one with Dashwood Books (Waters), and his work has been featured in Matte Magazine, NEWSPAPER, Der Grief, Artforum.com, Dear Dave, and Vice. Since 2021 he has been a Visiting Assistant Professor of Photography at Bard College and has been a guest lecturer and critic at Harvard University, SAIC, School of Visual Arts, Wesleyan University, University of Arizona, and Maine College of Art, among others. He lives and works in Brooklyn with his husband, Ryan, and their dogs, Frankie and Beans.
Edward Thomasson
The End of Pretending, 2019
Edward Thomasson（生于1985年，特伦特河畔斯托克）制作关于社会和性互动复杂性的表演、戏剧、录像和绘画。他的实践由伦敦 Phillida Ried 代理。目前他在伦敦生活和工作。Edward是RCA英国皇家艺术学院艺术与人文学院的摄影课程的导师，与Lucy Beech合作进行表演和录像作品。他于2007年在伦敦切尔西艺术与设计学院完成了他的学士学位，并在2009-2011年在伦敦斯莱德美术学院获得了硕士学位。部分展览和表演包括: 压力，Southard Reid，伦敦，2016年；志愿者，David Roberts艺术基金会工作室，伦敦，2015年；终极维萨，Koppe Astner，格拉斯哥，2015年；逃跑路线，大会堂，印度基督教青年会，伦敦，2014年；现在时态，Chisenhale画廊，伦敦，2013年；编码行为，Pilar Corrias，伦敦，2013年；关于管理，Southard Reid，伦敦，2012年；找一个问题来解决，Furini Arte Contemporanea，罗马，2012。与Lucy Beech合作的演讲包括: 一起，英国泰特美术馆，伦敦，2017年；公共关系，莫林-佩利，伦敦，2016年；被动攻击3，Frieze Live，Frieze London the boys, the girls and the political, Lisson Gallery, 伦敦，2015年；被动攻击 被动攻击2》，Camden Arts Centre，伦敦，2014年；《被动攻击》，Yapi Kredi文化中心，伊斯坦布尔，2013年；《一起留下》，Outpost，诺维奇，2013年。获奖和驻留包括: 2017年，牛津大学圣约翰学院驻校艺术家；2016年，大卫-罗伯茨艺术基金会工作室驻校艺术家；2012-14年，Chisenhale画廊CREATE驻校艺术家；2012-2013年，LUX艺术家项目。
Edward Thomasson ( born 1985, stoke-on-trent) makes performances, plays, videos and drawings about the complexity of social and sexual interactionHis practice is represented by Phillida Ried. London. He lives and works in London. Edward is a Tutor on the Photography programme in the RCA School of Arts & Humanities. Thomasson also collaborates with Lucy Beech on performance and video works. He completed his BA at Chelsea College of Art and Design, London, in 2007 and went on to gain an MA at Slade School of Fine Art, London, 2009–2011. Selected exhibitions and performances include: Pressure, Southard Reid, London, 2016; Volunteers, David Roberts Art Foundation Studio, London, 2015; The Ultimate Vessal, Koppe Astner, Glasgow, 2015; Escape Routes, Assembly Hall, Indian YMCA, London, 2014; The Present Tense, Chisenhale Gallery, London, 2013; Coded Conduct, Pilar Corrias, London, 2013; Just About Managing, Southard Reid, London, 2012; Find A Problem To Solve, Furini Arte Contemporanea, Rome, 2012. Collaborative presentations with Lucy Beech include: Together, Tate Britain, London, 2017; Public Relations, Maureen Paley, London, 2016; Passive Aggressive 3, Frieze Live, Frieze London the boys, the girls and the political, Lisson Gallery, London, 2015; Passive Aggressive 2, Camden Arts Centre, London, 2014; Passive Aggressive, Yapi Kredi Cultural Center, Istanbul, 2013; and Left Behind Together, Outpost, Norwich, 2013. Awards and residencies include: Artist in Residence, St John’s College, Oxford, 2017; David Roberts Art Foundation Studio Residency, 2016; Chisenhale Gallery CREATE Residency, 2012-14; and the LUX Associate Artists Programme, 2012-2013.
Streaming Consciousness
流动的意识
Amiko Li （李文嘉）
self-portrait, 2017
“和很多人一样，我的摄影是从个人出发对身边和周遭的认识。人都是很多面的，我也不例外，所以我不想追求作品里所谓的连贯性。我不想被一种路线所局限。看着自己的作品Maiden Voyage，觉得自己的语气时而严苛，时而又很闲适，并且在不同的光线里，在防备和表演里，亲密和疏离之间切换。
摄影给予了我很大的宽容。镜头里的影像呈现出我对于男生和女生的不同喜爱。我想大概也只有在这样的媒介里，不同的人物可以那么有趣地融合在一起，好比拔火罐的爸爸，还有在浴室里睡眼惺忪的男孩。”
"Like many people, my photography is based on a personal understanding of the people around me. People are multi-faceted, and I am no exception, so I don't want to pursue so-called coherence in my work. I don't want to be caught by a single perspective. Limitations. Looking at my work "Maiden Voyage", I feel that my tone is sometimes harsh, sometimes very relaxed, and switches between intimacy and alienation in different lights, in defense and performance.
Photography has given me a lot of tolerance. The images in the camera show my different likes for boys and girls. I think it's probably the only medium in which different characters can come together so interestingly, like the cupping dad and the sleepy-eyed boy in the bathroom. "
李文嘉（Amiko Li）1993年出生于上海，是一位主要使用摄影和文字媒介创作的艺术家。他的作品从文化体系中的细微差别出发，通过再创作、交流和误译，以一种反思性的方式来探讨文化系统以及语言伦理。他于芝加哥艺术学院和罗格斯大学分别获得艺术学士和硕士学位。
参与的展览和放映活动包括：尤伦斯当代艺术中心（北京，2020）、佐治亚大学（雅典，2020）、平地电影节（冰岛，2019）、电影资料档案馆（纽约，2019）、“座机”（芝加哥，2019）、艾布朗艺术中心（纽约，2018）、贝尔法斯特国际摄影节（爱尔兰贝尔法斯特，2017）、哥伦比亚大学LeRoy Neiman Gallery画廊（纽约，2014）、阿尔斯特博物馆（爱尔兰，2014）等。李文嘉曾获得阿姆斯特丹皇家阿尔斯特学院肖像奖，并获得费城摄影艺术中心、三角艺术协会(Triangle Arts Association)、斯图加特艺术家之家(Künstlerhaus Stuttgart)等机构的奖金和驻留。
Amiko Li (b. 1993, Shanghai) is a visual artist working in photography, text and video. His works explore the paradox of intimacy and distance.
He is the recipient of the PDN The Curator Award, Center Project Launch Award, and Royal Ulster Academy Portrait Prize. Exhibition and projections include Abrons Arts Center, New York; LeRoy Neiman Gallery at Columbia University, New York; Anthology Film Archive, New York, NY; Ulster Museum, Ireland; Thorvald Meyers 51, Norway; UCCA Center for Contemporary Art, China; Power Station of Art, China; Flat Earth Film Festival, Iceland; and Belfast Photo Festival, Ireland. Publications include Adbusters; American Chordata; Artforum; Esquire Russia; Juxtapoz; New Yorker; and T Magazine. He is a full-time lecturer at Smith College.
Kanthy Peng（阚辛）
Pain and Games #2, 2016
通过挪用经典民俗传说望夫石的故事，另一座望夫石 反思了社会与艺术史如何将女性身体视作无生命的自然风景，以及自然风景如何经常被喻为女性的身体，被掠夺和征服。
在 疼痛和游戏 #1&2 中，年轻的情侣用无知而自发的欲望与外界进行对抗。
The Perfect One (from The Other Lookout)
By appropriating the classic folklore of the Lookout Stone, The Other Lookout Stone reflects on how society and art history have seen the female body as an inanimate natural landscape, and how the natural landscape is often metaphorically represented as the female body, to be plundered and conquered.
Pain and Games #1&2
In Pain and Games #1&2, young lovers confront the outside world with ignorant and spontaneous desire.
阚辛 （Kanthy Peng）的创作主要以镜头为媒介。她2016年毕业于芝加哥艺术学院，2019年毕业于耶鲁大学艺术学院。她目前任教于加州大学圣地亚哥分校。她的作品曾在国际上展出和放映，近期包括:德国斯图加特电影节、上海当代艺术博物馆、和成都时代美术馆。她参与过的艺术家驻留项目包括:荷兰扬·范·艾克学院(Jan van Eyck Academie)、美国斯考希根绘画和雕塑学院(Skowhegan)、和马耳他国家创意中心(Spazju Kreattiv)。
Kanthy Peng is an artist who specializes in lens-based mediums. Peng holds a BFA from the School of Art Institute of Chicago (2016) and an MFA from the Yale School of Art (2019). Her works have been exhibited and screened internationally, including, most recently, at Stuttgart Filmwinter in Stuttgart, Germany, the Power Station of Art in Shanghai, China, and the Times Art Museum in Chengdu, China. Peng has received fellowships and residencies from the Spazju Kreattiv in Valletta, Malta, the Jan van Eyck Academie in Maastricht, Netherlands, and the Skowhegan School of Painting and Sculpture in Maine, United States.
William Zou（邹威廉）
soliloquy, 2021
soliloquy意为无需被他者聆听的独白。soliloquy从个体经历与体验出发，通过探索家庭影像档案、自肖像、与静物摄影、在摄影语言建构的新时空关系中交织过去与现在，并试图重新映射艺术家本身所经历的家庭、酷儿、及离散者身份的体验。 受到杨德昌、李安、小津安二郎等电影导演的影响，邹威廉试图去解决所谓的“confucian confusion”，一种东亚文化下对于完好家庭原型的执着期盼。也是在这样的语境下，对于艺术家来说，更真实的自我必须受到牵制，因此，“所欲”的概念变得不再稳定，而这种身份体验的不确定性被不断波动改变，且只有在波动时才存在意义的酷儿与流散体验进一步强化。
因此，在soliloquy系列中，艺术家选择迂回的句法，反复挑选并展示拍摄于不同时间及不同主题的影像，仅仅去思考如若我们放弃那些被青睐的身份定义，并停止从身份角色的角度思考自我将会发生什么。而那些所被扰乱或消散的身份体验又是否会是我们真正渴望的新叙事？
Exploring family archives, self-portraits, and still life photography, William Zou's first photography project “soliloquy” interweaves and oscillates between personal past and present. By remapping queerness, diaspora, and family within new spatial-temporal relationships, the series aims to unveil identity as a fragmented experience that continually transforms. In particular, “soliloquy” sheds light on identities desired, disrupted and dismissed to consider the dilemmas of belonging and becoming.
Inspired by a range of film auteurs from Yasujiro Ozu, Ang Lee, and Edward Yang, to more recent filmmakers like Maggie Lee, "soliloquy" tries to address the so-called “Confucian Confusion” and untangle why many try so hard to fit into the paradigm and looking to become the perfect archetype of family within East Asian culture.
Within this context, for Zou, the truer, queerer self must be suppressed, and therefore, the notion of the "desired" becomes unstable. Such uncertainty of identity experience is further reinforced by the queer diasporic experience which is constantly fluctuating; and only comes into significance when fluctuating.
Resultingly, “soliloquy” employs a circuitous syntax that repeatedly poses and proposes unseen relationships between photographs taken at different times and of different subjects. Carefully chosen and displayed by the artist, “soliloquy” not only questions what would happen if we stopped thinking of ourselves in terms of identity categories and roles, but also envisions alternative narratives that can otherwise come into existence.
邹威廉（William Zou），工作并创作于上海与伦敦。毕业于伦敦国王学院电影学系及皇家艺术学院摄影系。作品多以自身视角与经历出发，通过摄影作为其主要创作媒介去探索身份政治，他自身的酷儿及离散身份与家庭之间不断产生的矛盾关系则成为他创作的核心。
Born in Budapest, Hungary, William Zou (b.1997) is an artist based in Shanghai, China, and London, UK. William graduated from King’s College London in 2019 in Film Studies and will shortly complete his master degree in Photography from Royal College of Arts.
Photography as his main approach to art practice is often used to explore and remap the dominant narrative constructed in the sphere of identity politics, with a particular focus on queer diasporic identities in relation to family. William is also one of the co-founders of cusp. —an artist-run exhibition space in Hangzhou, China, dedicated to bringing emerging photography artists to the forefront of the art scene.
Queer Rhetorics
奇异的修辞
Bowei Yang （杨博炜）
Dandy with his moon tattoo, 2022
溪流是否会感受疼痛 (2019) :溪流流入湖泊，伤痛变成个人身份的栖息地，在不同的社会认知背景下，我们是如何定义自己的身份又是如何界定个人和集体身份。博炜尝试通过自己的创作记录下酷儿主体在不同身份结构下的思考，而创伤更像是影子，阐述个人身份的轮廓，却又不抗拒与其它身份的交集。
“If Spring Could Feel Ache”, the project I started in 2019, talked about the masculinity in Chinese adolescent queer groups juxtaposed with a retrospective thinking towards the belongingness of queer identity in different social systems. Meanwhile, the works I made in the project were also meant to respond to the contemporary Chinese queer group on the tache connecting the collective traumas and individual identity.
杨博炜（Bowei Yang）(b.1994，中国杭州)现工作生活往返杭州与伦敦。2017 年，他于北京电影学院摄影学院获得艺术学士学位，2021 年，在英国皇家艺术学院摄影系获得艺术硕士学位。博炜的创作根植于摄影本体论研究与酷儿身份的在地文化调研，关注影像叙事里虚构和符号在不同语境的被感知。他多从伤痛记忆出发，通过导演的行为拆解纪实影像的叙事表达，寻找个人身份与不同集体认知，集体创伤与集体身份认同之间的归属与联系。他的部分展览经历包括:“Renew:A Recent Survey in Chinese Contemporary Photography”, Eli Klein Gallery,纽约,2022; “La nuit et la forêt”, cusp. Space, 杭州, 2022; “ART’N DIOR”, 深圳当代艺术与城市规划馆, 深圳, 2021; “Double visian& After The High Tide”, The Cromwell Place, 伦敦, 2021; “Final,not Over - again”, the Unit 1 Gallery, 伦敦, 2021; “Emerging Talent 2019”, Galerie Joseph, 巴黎,2019. 并曾入围 FOAM Talent 2021，英国摄影杂志2021国际摄影奖 ，2020 迪奥摄影与视觉青年艺术家奖，PHmuseum 2020 摄影新生代创作者，Gomma 2019 摄影奖， AIN-T BAD 第一本摄影书奖，Lensculture 2019 新锐摄影师奖等。
Bowei Yang (b.1994 Hangzhou China) now lives and works between Hangzhou and London. By mainly focusing on the subject of the native queer culture, his work not only documents the contemporary queers living in China combined with staged memories of personal intimate experience, but he also tries to query the self-identity in awareness of diverse collective identifications and traumas. His works are mostly inspired by the literature, and psychoanalysis of Jung and are constructed to ponder the relationship between fictitious documents and semiotics through studying the ontology of photography.
He received his Bachelor's Degree in Photography from Beijing Film Academy in 2017 and graduated from Royal College of Art in London in 2021. His group exhibitions include: “Renew: A Recent Survey in Chinese Contemporary Photography”, Eli Klein Gallery, New York, 2022; “Lanuit et la forêt”, cusp. Space, Hangzhou, 2022; “ART’N DIOR”, Shenzhen Museum of Contemporary Art and Urban, Shenzhen, 2021; “Double visian& After The High Tide”, The Cromwell Place, London, 2021; “Final, not Over - again”, the Unit 1 Gallery, London, 2021; “Emerging Talent 2019”, Galerie Joseph, Paris, 2019. He was named by the Foam Talent 2021, British Journal of Photography International Photography Award 2021, the Dior Photography and Visual Arts Award for Young Talents 2020, PHmuseum 2020 Photography Grand new generation prize honorable mention, Gomma Photography 2019, and Emerging Talent 2019 by Lensculture. His work has been published in: Foam Magazine, Modern Weekly Style Magazine, IGNANTMagazine, China Daily, among others.
Zhidong Zhang（张之栋）
Kitchen Study, 2021
我与我的亲密朋友、家庭成员和发现/使用的物体合作。我认为摄影表面是一个潜在的栖息地，可以让不同群体的人、边缘化者和散居者的身体在另一种叙述中得到倾听和赞美。我对摄影表现在真实和想象之间的差距感兴趣，特别是它通过特定的表现/不表现制度来阐明和表现个人经验的功能，在这种制度中，不同群体的外在化在一种怪诞的伪装和视觉修辞的状态下变得可见和可及。
当身份只是由改变性的表述产生时，如何找到自己而不妥协？如何在亚裔身份的构建和亚裔的实际存在之间确定自己的方向？作为一个在传统中国家庭长大的非异性恋者，真实身份的表达成为一种奢侈，甚至是一种禁忌。因此，在很多方面，我的作品邀请我面对和协商我自己的成长经历，通过一个积极的承认和重新配置的行为，在一个被压制的社会和家庭的背景下。它鼓励我超越主流文化所选择的可见和可及的东西，并挑战我的文化中身份构建、性别角色和传统文化价值观的僵化和刻板的规范。这些照片设想了一个超出我想象的未来，并模拟了一种接近另一种现实的方式，而这种方式不可能存在于现在。
I work collaboratively with my close friends, and family members, and found/used objects. I see the photographic surface as a potential habitat for queer, marginalized, and diasporic bodies to navigate alternative narratives where othered voices are heard and celebrated. I’m interested in the gap in photographic representation between the real and the imagined and specifically, its functionality to articulate and manifest personal experiences through particular regimes of representation/non-representation, within which the exteriorization of queerness is made visible and accessible in a state of grotesque masquerade and visual rhetoric.
How to find oneself without compromising when identities are only produced by the representation of alterity? And how to orient oneself between the construct of Asian-ness and the actual being of Asian? As a queer person raised in a traditional Chinese family, the expression of true identity becomes a luxury or even taboo. Therefore in a lot of ways, my work invites me to confront and negotiate with my own upbringing, through an active act of recognition and reconfiguration against a suppressed societal and familial backdrop. It encourages me to see beyond what the dominant culture chooses to make visible and accessible and challenges the rigid and stereotypical codes of identity construction, gender roles, and traditional cultural values in my culture. These photographs envision queer futurity beyond my imagination and mimic proximity to an alternative reality that could not otherwise exist in the present.
张之栋 （Zhidong Zhang）生于中国湖南是一位摄影师，目前在波士顿生活和工作。他在马萨诸塞州艺术与设计学院获得了摄影硕士学位。作为一个不同群体的人，张之栋的作品从他在一个保守的中国家庭的成长经历中得到启发，探索了代表、身份构建和图像在当代文化中的作用的交叉点。
之栋的作品已经在国际上展出，包括SPACE画廊、地区摄影中心、伍德斯托克摄影中心，并出现在i-D杂志、纽约时报、纽约客、QUEER|ART、Der Greif、BOOOOOOOM等。他是马萨诸塞州文化委员会奖学金的获得者，也是Robert Giard Grant的决赛选手。他是MASS MoCA的驻场艺术家，最近，他是Skowhegan绘画和雕塑学校的参与者。他目前是波士顿艺术中心的A.I.R。
Zhidong Zhang (b. Hunan, China) is a photographer currently living and working in Boston. He received an MFA in photography from Massachusetts College of Art and Design. Informed by his upbringing from a conservative Chinese family as a queer person, Zhidong’s work explores the intersection of representation, identity construction, and the role of imagery in contemporary culture.
Zhidong’s work has been exhibited internationally including SPACE Gallery, Centre régional de la photographie, the Center for Photography at Woodstock, and has appeared in i-D Magazine, The New York Times, The New Yorker, QUEER|ART, Der Greif, BOOOOOOOM, and among others. He is a recipient of the Massachusetts Cultural Council Fellowship and a finalist for the Robert Giard Grant. He was an artist-in-residence at MASS MoCA, and most recently, a participant at the Skowhegan School of Painting & Sculpture. He is currently an A.I.R at Boston Center for the Arts.
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Some kinds of queery 一种奇异
卡斯普多特 cusp. 杭州市上城区凤山路79号商业储运中心3仓3楼303
2022.9.25 - 11.25，7/5
策划：杨博炜，葛睿璟，徐欣儿，邹威廉
视觉设计：herbr
致谢：华桂飘，吴炜佳
Curated by Bowei Yang, Ruijing Ge, Xiner Xu, Weilian Zou
Visual Design by herbr
Special thanks：Guipiao Hua，Weijia Hu
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