Immortal of Play

Duration: Sep 27 – Nov 27, 2019
Opening Reception: Sep 27, 2019, Friday at 5pm
Venue: Canton-sardine
Address: 268 Keefer street, #071 at Lower-ground (LG), Vancouver
Gallery hours: Tues-Sat 12-6pm
Artists: Amy Chang Li-chuan, Wei Cheng
Curator: Steven Dragonn

Immortal of Play – Amy Chang Li-chuan & Wei Cheng Ceramic Exhibition

Text / Steven Dragonn

As early as the Neolithic Age, humans have utilized ceramics as utensils of daily life. As humanity evolved and developed, ceramics as an art-form has prevailed long before the first definition of art endowed by humankind. In a way, our sensibilities towards ceramics are deeply rooted in our genes as humans: it’s inseparable from our diet, and it corresponds to our status and our positions in society. Generally speaking, ceramics is associated with functionality and practicality as everyday utensils, while its artistic quality an additional attribute. As civilization continues to advance, the distinctiveness of ceramics beyond its functionality gradually separates and becomes a unique art form, a vessel to a never-ceasing obsession.

How ceramics (or clay), as an art material and medium in artistic practices continue to evolve in contemporary art is an issue faced by every ceramic artist – how does an ancient art form generate new possibilities and necessities to contemporary social realities? In the same way as to how competitive sports evolved from life and death combat, the concept of “to play” has become a symbol of “civility” in human civilization. The two artists in this exhibition, Amy Chang Li-Chuan and Wei Cheng both attempt to break away from the ingrained concepts in ceramics differently, yet “to play” has become their shared strategy.

Amy Chang Li-Chuan’s work takes inspiration from Steampunk; a distinctive style and genre of the 1980s and 1990s North American subculture. From there, Chang develops her concept of imitation. Chang uses glaze to imitate metal textures, uses the hand-made quality of ceramics to mimic a lifeless industrialized production, and uses ceramics as functional utensils to mimic an impractical Steampunk assemblage. The three layers of imitation find peculiar connections between the practical and the useless, resemblance and non-resemblance, the seriousness and humorous, all of which makes up Chang’s art practice.

Wei Cheng’s works, on the other hand, attempts to break apart from the shackles of ceramic’s inherent qualities in a more radical way. From an institutional criticism viewpoint, Cheng emphasizes her reflections on the indispensable constituents of ceramics: “clay” and “fire.” The production of ceramics is the integration of “clay” and “fire”: clay to take the physical form, while fire the intervenient force that transforms clay into pottery. The properties of “fire” and “clay” have always been the two directions pushing forward ceramics to ultimate craftsmanship. Cheng, in contrary, adapts a playfulness to release the primitive nature of “clay” and “fire,” and merges ready-made objects with “clay” and “fire” to create assemblages, differentiating her work from both the context of ready-mades and ceramics.

In additions to the playfulness, the works from the two artists also speculate the subject of Anthropocene, a geological concept first introduced by Nobel Prize winner in Chemistry, Dutch atmospherical chemist Paul Crutzen in 2000. Crutzen proposed that the earth has moved past the Holocene, a geological epoch that began 11,700 years ago. The rapid growth in population and economic development had tremendous impacts on the global environment. Human activities have caused enough change to earth to create a new geological age. The industrialization of ceramics is precisely the most evidential manifestation of Anthropocene. Heaps of ceramic wastes are gradually changing the soil compositions of the earth’s surface, a change due to the scrupulous attention for high-standard products. To be concise (and not going into a whole other discussion on the art of the Anthropocene age), here is a question worth contemplating: Framing the discussion around the topic of Anthropocene, are the works of the two artists expressions of the uselessness of art, or instead, are they anti-entropian re-creations?

About the artists:
Amy Chang Li-chuan
Amy received a Bachelor of business in Taiwan before immigrating to Canada. By the time she moved to Vancouver she had already found her passion for art during her eight years working for the Cloisonné Company while studying ceramics in a private pottery studio. Amy then decided to go back to school to study art focusing on ceramics. She received a Diploma of Studio Art from Capilano University in 2003, then continuing on to complete her BFA from The Emily Carr University of Art and Design in 2007. Since then Amy has become a studio artist focusing on contemporary ceramic sculpture.

In recent years Amy has shown her work in solo and group exhibitions around Vancouver area and overseas. Amy’s work also has been selected into local and international ceramics competitions. Such as the 3 place award in 2018 Salt Spring national ceramics competition and 2019 International Ceramics Biennale, Taiwan.

Wei Cheng
Born and raised in China, Wei now lives and dedicates her art practice in Vancouver, BC. She earned her art education from Emily Carr University of Art and Design, where she learns to appreciate the ceramic medium. She has been a resident artist at Jingdezhen, Alfred and Yixing. Her professional practice has also taken her to States and Europe. Her work has been exhibited in solo and group exhibitions both national and international venues.


展览地址:溫哥華 唐人街奇化街268號新華中心地下一層071單元
藝 術 家:張麗娟、成瑋
策 展 人:龍邃洋





張麗娟的作品靈感源自從二十世紀80-90年代北美流行風格蒸汽朋克(Steam punk)。並從中蛻變出一種“仿效”式的概念,她用陶的釉料去“仿效”金屬的質感,用陶的手作方式去“仿效”工業化冰冷的生產方式,用陶的實用器的形式去“仿效”無實用性的蒸汽朋克式造型拼貼。這三重的“仿效”在“有用”與“無用”之間,“似”與“非似”之間,“認真”與“開玩笑”之間尋求一種詭異的拼接,這就是她的藝術。


觀之兩人的作品,除以“玩性”貫之外,其作品背後亦滲透出藝術家對於人類世(Anthropocene)的迷思——人類世是一個地質概念,最早由諾貝爾化學獎得主、荷蘭大氣化學家保羅·克魯岑(Paul Crutzen)於2000年提出。他認為,地球已告別11700年前開始的地質年代“全新世”,快速增長的人口和經濟發展對全球環境造成巨大影響,人類活動對地球的改變足以開創一個新的地質年代。陶瓷的工業化正正是人類世在地質學上最強有力的體現——早已堆積成山的陶瓷廢料正逐漸改變地球表面的土質成分,而這種改變正正是建立在人類對陶瓷產品吹毛求疵的特定要求之上。我不在這裡展開對人類紀藝術的探討,簡而言之,最後拋出一個問題給觀眾思考:在人類世的討論框架下,兩位藝術家的作品到底是一種“藝術無用主義”的表達呢,還是逆熵式的再創造?


移居加拿大之前,張在台灣獲得了商業學士學位。 當她移居溫哥華時,她在景泰藍公司(CloisonnéCompany)工作的八年中,並在私人陶藝工作室學習陶瓷的時候,已經對藝術充滿了熱情。 然後,她決定回到學校學習以陶瓷為主的藝術。 她於2003年獲得卡皮拉諾大學(Capilano University)的工作室藝術文憑,然後於2007年繼續從艾米麗·卡爾藝術與設計大學(Emily Carr University of Art and Design)完成文學學士學位。此後,她成為專注於當代陶瓷雕塑的工作室藝術家。

近年來,Amy在溫哥華地區和海外各地的個人展覽和團體展覽中展示了她的作品。 艾米的作品還入選了本地和國際陶瓷比賽。 例如在2018年鹽泉國家陶瓷比賽和2019年台灣國際陶瓷雙年展中獲得三等獎。


部分作品收藏機構有:愛爾蘭切斯特.比蒂圖書館、加拿大Peter Kiss畫廊、帕勞Hi Resort 酒店、哥倫比亞Campos de Gutiérrez畫廊等。


Katharine Meng-Yuan Yi: Healing Brush


Duration: April 13 – June 23, 2019
Opening Reception: April 13, 2019, Saturday at 3pm
Venue: Canton-sardine
Address: 268 Keefer street, #071 at Lower-ground (LG), Vancouver
Gallery hours: Tues-Sat 12-6pm
Curators: Pongsakorn Yananissorn, Steven Dragonn

Canton-sardine is pleased to launch the first solo exhibition of Katharine Meng-yuan Yi, who is a multimedia artist based in Vancouver. This exhibition presents Yi’s recent works made in reflection of her side-job as a commercial portraiture photographer, while in contemplation of the Chinese children’s story, Ma Liang and His Magic Brush.

Yi’s project Healing Brush takes the popular children’s story in mainland China, Ma Liang and His Magic Brush, written by Hong Xuntao in the 1950s, as an entry to contemplate photography and painting’s entanglement to representation. Ma Liang and His Magic Brush tells a story of a once poor boy, bestowed with a magic brush allowing him to turn his drawings into reality. He sets off helping the poor and the unfortunate. Healing Brush too wanders the edges of representation with this same weight. The photographer here, like the painter, wields the brush to recover the ideal, creating an unintentional layer of new imagery. This layer of mark-making surfaces the invisible artistic labour, a labour to make invisible what is deemed imperfect. A fulfillment of a consumer need of a particular “hyperreal” aesthetic standard.

The “Healing Brush”, as appeared in the exhibition title, is the name of a retouching tool from Photoshop utilized to make invisible, to conceal, and to recover the absolutes and the ideals from imperfections and blemishes. The series of works, ranging from photography, video animation, painting and photo-installation, circulates around Yi’s role as a commercial photographer in the industry, acting both as a spectator and fabricator to an aesthetic standard coming to form.

Katharine Meng-Yuan Yi was born in Beijing, China, she is currently based in Vancouver, Canada. Yi’s practice, employing a variety of mediums, investigates and reflects on contemporary societal occurrences, quotidian subjects, and continuously re-examines the role of the artist in a broader social spectrum. As a first generation immigrant/settler, her practice is inextricably attached to the bigger conversation of diaspora and evokes the urgency of the locality and its presentness. Yi received her BFA from the University of British Columbia in 2014.




易夢原出生於中國北京,現居加拿大溫哥華。 她的創作採用多种媒介,以調查和反思當代社會事件、日常主題,並不斷重新審視藝術家在更廣泛的社會範圍中的作用。作為第一代移民/定居者,她的實踐與移居的命題密不可分,並希望喚起當地的緊迫性及其現狀。 易夢原於2014年畢業於不列顛哥倫比亞大學,並獲得學士學位。

Yiming Wang: Flags

Duration: Aug 31 – Sep 20, 2019
Opening Reception: Aug 31, 2019, Saturday at 3pm
Venue: Canton-sardine
Address: 268 Keefer street, #071 at Lower-ground (LG), Vancouver
Gallery hours: Tues-Sat 12-6pm
Curators: Xiaoyan Yang, Steven Dragonn


It was in 1987 when Wang Yiming began his first sketching tour to Tibet. Ever since then, he has been obsessed with the rite of “Kora”. In the past 30 years, he made numerous journeys into remote mountains in Tibet. Just as how Tibetan Buddhists express their piety, he also calls his art journey “Kora”. He has already completed 10 trips to Tibet since 2011. Each year he spends one or two months driving to Tibet and practicing sketching from the morning until afternoon when the wind starts to blow. “The way Wang paints may look like sketching , but is in nature a synchronized movement of emotion and body aroused by the majesty of the summit. What sustains his painting on a 8m*3m canvas all day long is the stamina stimulated by a unique emotion. The self-indulgence in his paintings boasts an intense sense of presence, making it more like a tough mental and physical improvement instead of a sketching. In this sense, Wang’s paintings are a kind of action painting, and his artistic practice is the result of something closely linked with his own action”, observed by Yang Xiaoyan, a famous Chinese art critic.

Tibetans practice “Kora” in a number of ways. They walk around a holy mountain or a holy lake just to express their gratitude to mother nature. And this is their spiritual pursuit. I believe a lot of things in human society are just expressed in different ways. They are different because your background of growing up and getting education are different. Or maybe because your jobs are different, just like I am a painter myself. I have been to Tibet for so many times in these years because I am attracted to everything in there. This is my spiritual pursuit and my belief of “Kora”. What appears in my paintings and those paintings done traveling in Tibet are two totally separate concepts. I absorb all the elements in Tibet and reorganize them in my mind before making them into something completely different”, said Wang.

Flag is a spiritual token for Tibetans. Wang borrows this form as a symbol of his action painting. Just as what Huang Jiancheng, a Chinese artist, observed that “Tibet has a sense of belonging and life to Yiming. Traveling to Tibet is just a start, or a part, of his destiny to Tibet. I think what Tibet means to Yiming is more than merely a symbol or a physical experience in surface, but more like a call from within or a religious belief. Only with this can he leave such a meaningful adventure in life”. As a “Tibetan-style” symbol, flags convey the meaning of making wishes and praying for good luck. Stripping off this symbolic element from his abstract paintings created when he traveled to Tibet and elevating it to a kind of behavior art full of a primitive sense of ritual, Wang plans to drag along the “colorful flags” made with 81 pieces of 15m*3m painted cloths around the foot of Mount Everest in the way of walking around the mountain, or “Kora”. He observed that “ I hope people can pay attention to the nature that sustains us. Visitors to Mount Everest leave a large amount of garbage in the camps. Grave environmental pollution can be found at the summit of earth , let alone the rest parts of the world”. Wang hopes to do something for the world, for Mount Everest and for environmental protection through such a painting action.

This time, Wang has brought this spirit with him to Vancouver, a city on the other side of Pacific. In the form of action art, he continues to explore the meaning of life and share his feelings with audience outside China. After his solo exhibitions in Today Art Museum in Beijing (2017), 21 Space Art Museum in Dongguan (2017), Redtory in Guangzhou (2018), Coast Gallery in Zhuhai (2018), chief special art project of Shanghai Art Fair (2018), and Meishan Land Art Festival (2018), Wang started his worldwide promotion of painting actions advocating environmental protection. Vancouver is honored to be the first stop of this journey. Besides paintings created in Tibet, this exhibition will exhibit Wang’s new painting created in this very journey to Vancouver together with local artists. The painting is 20 meters long and is created on a silk-linen cloth.

To support daily operation of Shang Foundation for Art and Canton-sardine, promote environmental protection in art practices and artistic exchanges between China and Canada, Wang has made a generous donation of 15 pieces of exhibit works to raise fund for the operation of the foundation and the gallery.

Flags on the Other Coast: Wang Yiming’s Solo Exhibition in Vancouver is co-curated by Yang Xiaoyan, Chinese art critic and professor at Sun Yat-sen University, and Canadian independent curator Steven Dragonn. The exhibition will open at 3 pm on August 31, 2019 at Canton-sardine until September 20. Guests are invited to grace the opening ceremony, where Wang Yiming will share his thoughts of creation.

Media contact:
Steven Dragonn, director and founder of Canton-sardine

Brief introduction to Wang Yiming
Born in Liuyang, Hunan Province, Wang acquired his master degree from Xi’an Academy of Fine Arts. He is now Dean of Art Teaching and Research Office, Dean of Visual Art Laboratory, and Dean of Environmental Art Research Institute at the School of Architecture of South China University of Technology, and member of the Art Teaching Committee of the Architecture Discipline Professional Steering Committee of National Higher Education Institutions.

Solo Exhibitions of Wang Yiming
2017 Mountain Kora: Yiming Wang’s Spiritual Journey, Today Art Museum, Beijing
2017 A Long Spiritual Journey: the Painting Actions of Wang Yiming, 21 Space Art Museum, Dongguan, Guangdong
2018 Flags: Loving Mount Everest, Respecting Nature, Wang Yiming’s Public Art Actions, Coast Gallery of Gree Real Estate, Zhuhai, Guangdong
2018 Flags: Loving Mount Everest, Respecting Nature, Wang Yiming’s Public Art Actions, Chief Special Art Project of the 22nd Shanghai Art Fair, Shanghai World Expo Exhibition and Convention Center, Shanghai
2018 Flags: Loving Mount Everest, Respecting Nature, Wang Yiming’s Public Art Actions, E5 Art Gallery, Redtory, Guangzhou

Academic publications
Rain Season in Shangri-la, published by Hunan Art Press
Mountain Kora, published by Lingnan Art Publishing House


展览地址:溫哥華 唐人街奇化街268號新華中心地下一層071單元
策 展 人:杨小彦,龍邃洋



“藏民的转山有很多种,他们围着一座神山、一个圣湖转,是他们向大自然表达感恩的体现,这是他们的精神追求。我想人类社会很多表达的东西只是方式不一样,因为你的成长环境、教育背景,或者职业区别,我是画画的。这么多年上西藏写生,因为那里所有的一切在吸引着我,这是我的精神追求,我的转山……我的画面和去西藏猎奇的画完全是两个概念,我是将西藏所有的元素全部归在脑子里面再重新组合变成另外一种东西。” 王义明说道。

幡,作为藏民的一种精神的寄托。王义明借用了这种形式作为他行动绘画的一种象征,正如中国艺术家黄建成评论道:“西藏对义明应当说有一种生命的归属感。上西藏只是他西藏宿命的开始,或者是一部分。我想西藏之于义明应当不仅是表皮上的符号、感官上的体悟,而是内心的呼唤和宗教般的信念所至,如此才有他生命中这一段极富意义的痕迹”。 幡作为一种“西藏式”的象征包涵的是许愿、祈福的意义。王义明在连续进藏的创作中从抽象绘画中剥离出这一象征元素并将其升华成一个与绘画结合,并具备原始仪式感的行为艺术——他计划把81条长15米宽3米绘画而成的“五彩幡”,以“转山”的方式在珠峰脚下拖行。他说:“希望人们关注我们赖以生存的自然,在珠峰营地,每年造访的游客和登山者都会留下大量垃圾,在地球的最高处都已经出现这么严重的环境问题,其他地方可想而知。” 王义明希望通过这一绘画行动,能为世界、为珠穆朗玛峰、为环保做一点事。






2017 年 “转山记一王义明的精神之旅”, 今日美术馆,北京。2017 年 “精神的长旅,王义明的绘画行动” 二十一空间美术
2018 年 “幡一珍爱珠峰,敬畏自然,王义明公共艺术行
动”, 格力地产无界美术馆,广东珠海。
2018 年 “幡一珍爱珠峰,敬畏自然,王义明公共艺术行”,
第 22 届上海艺术博览会首席特别艺术项目,上海
2018 年 “幡一珍爱珠峰,敬畏自然,王义明公共艺术行动”


Lam Wong: Mind Transition

Lam Wong-展览海报2

Duration: January 12 – April 2 (Held Over), 2019
Opening Reception: January 12, 2019, Saturday at 3pm
Venue: Canton-sardine
Address: 268 Keefer street, #071 at Lower-ground (LG), Vancouver
Curator: Steven Dragonn

Sat. Jan 12 – Opening Reception
Sat. Jan 26 – Artist Talk
Sat. Feb 9 – Art & Tea Party
Sat. Mar 22 – Exhibition Wrap-up Dance Party
Tue. Apr 4 – Last Day of the Show (Held Over)


Canton-sardine is pleased to invite Lam Wong, Vancouver based artist to show his paintings related with his recent thinking on conceptual art. As he described himself “My art practice is a life long journey of spiritual exploration and discoveries. For me, painting is a vehicle for investigating the mind. I am interested in challenging the received notion of perception: how we construct meaning, the working of memory, and how human consciousness relates to the world. I want to create a discourse about the human condition, and make paintings that engage viewers in questioning existence, and finding freedom.”

This time, he is showing his newer series of paintings, which meets Chinese Traditional Buddhism mind set featuring the occidental abstractionism and minimalism. The Transitional 2×4 series was formed with a realization of a single thought – “Everything and every situation happens only once.” Lam explain that all experience is unique, which is a quiet contemplation on time and impermanence. The frame of each painting symbolizes Nowness, and the content (the walking figures inside the frame) depict the movement in time – an expression of Impermanence in all forms and colours. Like an ever-flowing river, the walking figures seem to transition into other frames in a mysterious way. “I like the idea of my paintings having conversations with each other.” Lam says.

Lam Wong was born in 1968, to an artistic family (calligrapher father and pianist mother) in Xiamen, China, grew up in Hong Kong during the 1980s and immigrated to Canada at the age of 19. Lam studied design, art history and painting, both in Alberta and British Columbia. He is currently practicing painting as his main medium. Lam sees art making as an on-going spiritual practice. His main subjects are the perception of reality, the meaning of art, and the relationships between time, memory and space. Lam lives and works in Vancouver since 1998.

Lam’s newer paintings are very often inspired by his older works. The idea of the undercover hidden paintings and the pairing of two paintings on each panel may come from a large diptych called Westcoast (MOA) 2008, which feature two Buddhist monks on the left panel and a same-sex couple on the right. The setting was the Museum of Anthropology at UBC in Vancouver. The aesthetics of this new series, upon revisiting them after completion, feels like a subconscious extension of two of Lam’s earlier paintings titled 1964 The Poignancy of Music, and 1964 The Poignancy of Poetry, set in Mark Rothko’s studio in Soho, NYC which he painted between 2010 to 2012. They are the projected ideal of how painting should be made, and what should be felt.

This exhibition which curated by Steven Dragonn and supported by Shang Foundation for Art, will be open to the public from January 12 to March 23, 2019. An artist talk will be hosted on Jan 26th at 3pm, an Tea & Art gathering on Feburary 16th at 3pm and A Closing music party will be on March 23rd at 3pm during the whole exhibition period.



展览地址:溫哥華 唐人街奇化街268號新華中心地下一層071單元
策 展 人:龍邃洋


這一次,他所展示他新近創作的系列繪畫,揉合了中國傳統佛教思想以及西方的抽象主義和極簡主義。 《Transitional 2×4》系列是基於實施一個單一想法而形成的“一切都祇會發生一次”。王解釋道,所有經驗都是獨一無二的,這是一種對時間和無常的沉思。每幅畫的框架都象徵著“現在”,內容(框架內的行走人物)描繪了時間的運動—— 一種表現各種形式和顏色的無常。就像一條不斷流淌的河流,行走的人物似乎以神秘的方式過渡到其他框架。 “我喜歡我的畫作彼此交談的想法。”王說。

王藝林1968年出生於中國廈門的一個藝術家庭(父親是書法家,母親是鋼琴家),20世紀80年代在香港長大。19歲時移民到加拿大。王藝林曾在艾伯塔省和不列顛哥倫比亞省攻讀設計,藝術史和繪畫。自1998年起在溫哥華生活和工作的他,目前正以繪畫為主要的創作媒介。 他認為藝術創作是一種持續的精神實踐。他專注於探索現實的感知,藝術的意義,以及時間,記憶和空間之間的關係。

王藝林的新作品經常受到他的舊作品的啟發。秘密隱藏的繪畫和每個面板上兩幅畫配對的想法很可能來自他名為《Westcoast(MOA)2008》的大型雙聯畫,左側有兩個佛教僧侶,右邊是同性伴侶,環境則是溫哥華UBC的人類學博物館。這個新系列的美學,在完成後重新審視時,王藝林自己感覺就像他另外兩幅早年繪畫潛意識的延伸:題為《1964年的音樂》和《1964年的詩歌》(這組畫描繪的是紐約蘇豪Mark Rothko的工作室)王繪製於2010年至2012年之間, 這兩幅作品恰如其分地表達了畫(視覺外的感知)是應該如何產生的,以及畫面應所傳達出的。



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He Lixiao: Minor


Minor [ˋmaɪnɚ]
Adj.,f inferior in importance, size, or degree : comparatively unimportant;
Noun, a minor musical interval, scale, key, or mode.

What does the body mean to us? It seems to be an issue we often overlook. Once in a while, only when the body is in severe discomfort, it would suddenly be treated upon seriously. The body seems to be inferior to its subject. The human body, with the perpetual reproduction of modern knowledge and the forming of rational subjects, _has now been reduced to its _physicality, as Michel Foucault points out in his discourse on body politics. The body is the sin of morality, the illusion of truth, and the machine of production, restricting the body to productive labor. The body is only conspicuous when it is labored. That is, the body can only exist as a tool, a machine: either productive or reproductive. It is also what Nietzsche encounters in physicality: the body is always subordinate, inferior, minor, and humble. In philosophy, it is unsightly (Wang Min’an, Philosophy Ethics).

He Lixiao’s recent three performance videos employ his sensitive physical experience to show us how the vulnerable body struggles and resists in the social and political system. He Lixiao is an artist from Guangdong, China, who graduated from the Experimental Art Department of the Guangzhou Academy of Fine Arts in 2015. In the past few years, he has persisted in making performance video with his body as his main subject. I Invited him to show these pieces in Canton-sardine as an encouragement for him to continue his practice.

Naked Venus listening to the music, a single channel performance video, extends his reflection on the limits of the body and physical labor. The artist lifts a heavy stone and tries to play Paul de Senneville’s Ballade pour Adeline with a corner of the stone. The piece, which originally plays for only two and a half minutes long, had taken He 47 minutes to finish. The body in overload dismembers its function as a productive tool. The title of this work is taken from the work Venus with Organist and Cupid by the Renaissance Italian painter Titian (Tiziano Vecellio). My Speech, a two-channel performance video, shows the artist’s contemplations on body ethics in communication.

The relation of the openness of communication counterposed with the intimacy of sexual desire illustrates when power dominates the body, on the one hand, creates rational needs and desires of the body; on the other hand, rouses repressive illicit desires and needs. In Another Chord, a three-channel performance video, the artist exposes physical punishment in mundane renditions of marching song, trinity, and execution, a work stemmed from the reflection of He’s chronic pharyngitis. In body politics, the negligence of body organs and their function is perceived as a physical deficiency.

This exhibition at the same time exhibits He’s series of work “100 Days in Continuation” made between 2014 to 2015 to provide additional comprehension of his practice.

Steven Dragonn
Oct 15,2018 New York



Minor [ˋmaɪnɚ]
adj.形容詞: 不重要的,次要的; 可數名詞:【音】小調。

身體之於我們為何?似乎是我們經常忽視的問題,偶有身體嚴重不適時,才會忽然被重視起來。似乎身體之於“我”者,是一個次要的問題。猶如米切爾·福柯在關於“身體政治”的論述中指出,隨著現代知識的持續再生產與理性主體的形成,人的身體也從“身體”降格為“肉體”。 “身體在道德領域中是罪惡,在真理領域中是錯覺,在生產領域中是機器。這一切都將身體局限於生產性的勞作中,身體只有在勞作時才能醒目地存在,也就是說,身體只能作為一種工具性機器而存在:要么是生產性工具,要么是生殖性工具……正是尼采面臨的身體局面:身體總是從屬的、次等的、輕微的、卑瑣的,在哲學中,它是不堪入目的。”(汪民安《哲學倫理》)


《光著身體聽音樂的維納斯》,單屏行為錄像,延續著他對身體極限,或者是身體勞動極限的反思。作者搬起沉重的石頭,試圖用石頭一角彈奏保羅·塞內維爾的《水邊的阿狄麗娜》,本來一首僅2分半鐘的鋼琴曲,作者花了47分鐘才勉強完成。身體在超荷的情況下,作為生產工具的功能被肢解。本作品題目取自文藝復興時期意大利畫家提香的作品《沉醉在愛與音樂中的維納斯》;《我的演講》,雙屏行為錄像,呈現的是作者對身體倫理在傳播學的思考。把開放的傳播與私密的性慾兩者聯繫起來,以對立的方式來闡述身體所受到權利的支配一方面生產理性的身體慾望和需要,另一方面也以壓抑的方式生產非法的慾望和需要; 《另一種和弦》,三屏行為錄像,作者以進行曲、三位一體、行刑的方式表達肉體懲罰在日常層面的思考。這個作品源於作者長期的咽喉炎發作的反思。身體器官和機能長期受到的忽視在身體政治學中被視作身體的缺失性。