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胶囊｜廖雯近期动态

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廖雯的个展“有一天，我发现自己认识世界的方式是生吞”当前在胶囊威尼斯展出，将持续至2024年12月15日。

Liao Wen: By devouring it, I learn about the world is on view at Capsule Venice until December 15, 2024.

意大利威尼斯 Sestiere Dorsoduro 2525号

Sestiere Dorsoduro 2525, Fondamenta Rossa, Venice, Italy

近期出版物及评论报道

Recent Publication and Review

廖雯的作品《逆风》收录于Phaidon最新出版的《伟大的女性雕塑家》???????????????????????

Liao Wen's sculpture Headwind is featured in Phaidon's newest release Great Women Sculptors 胶囊｜廖雯近期动态崇真艺客

Great Women Sculptors 伟大的女性雕塑家 | 2024 | Published by Phaidon 由Phaidon出版 | with an introduction by Lisa Le Feuvre 由Lisa Le Feuvre 作序

《伟大的女性雕塑家》汇集了来自六十四个国家的三百多位艺术家，跨越了五百年的历史。这些雕塑家横跨无数的运动、流派和技法，以其持久的想象力和创造力而团结在一起。这本书是回应琳达·诺克林1971年开创性论文《为什么没有伟大的女性艺术家？》系列中的第三本，庆祝那些从事雕塑创作的女性的生命和创作。

——摘自Great Women Sculptors扉页介绍

Great Women Sculptors brings together more than three hundred artists from sixty-four countries, spanning five hundred years. Traversing countless movements, genres, and techniques, these sculptors are united by their enduring imagination and inventiveness. The third in a dynamic series of books that responds to Linda Nochlin's groundbreaking 1971 essay “Why Have There Been No Great Women Artists?” this volume celebrates the lives and work of women who sculpt.

- From the introduction page of Great Women Sculptors

Great Women Sculptors 伟大的女性雕塑家 | 2024 | Published by Phaidon 由Phaidon出版 | with an introduction by Lisa Le Feuvre 由Lisa Le Feuvre 作序

廖雯的身体性的，拟人化雕塑源于她在2017年通过北京中央美术学院的国际项目学习木偶制作的训练。她的木制人物的关节和可动性模仿了木偶肢体的可塑性，这些肢体可以被操控者操纵。廖雯常常在决定最终姿势之前，为每件作品尝试多个姿势，通常这些姿势在解剖学上是不太可能的，扭曲成引发深层紧张和焦虑感的扭曲形态。对廖雯来说，她的雕塑代表了人们由于人体的局限而无法实现的东西：“这些雕塑是我的安卓（人形机器人）；它们是我的木偶；它们能够承受。它们是完美的演员。它们比人类要好得多，”她在2023年接受《大象》（Elephant）杂志采访时说道。廖雯的一件具有关节形态作品《逆风》向后弯曲并扭向一侧，脚尖踮起，仿佛在面对一种看不见的力量。尽管缺少大多数可识别的人类特征——没有眼睛、鼻子，甚至没有手臂——但这个存在所引发的紧张感是可以触摸到的。尽管这个形象在技术上是无表情的，但它在极端运动中的平衡能力引发了共鸣反应，成为应对生活偶尔动荡的一个模型。

—— Jules Spector

Liao Wen's visceral, anthropomorphic sculptures are rooted in her training in the creation of marionettes, which she studied in Prague in 2017 through an international program at the Central Academy of Fine Arts in Beijing. The jointed and movable nature of her wooden figures mimics the malleability of puppets' limbs, which are able to be manipulated by the user. Liao often tries out several poses for each work before deciding upon the final positioning frequently they are set in anatomically improbable postures, twisted into contortions that invoke a deep-rooted sense of tension and anxiety. For Liao, her sculptures represent what people cannot achieve due to the limits of the human body: “The sculptures are my androids; they are my puppets; they can endure it. They are perfect actors. They are much better than human beings," she stated in a 2023 interview with Elephant. One of Liao's jointed forms, Headwind, is bent backward and twisted to the side, lifted onto its tiptoes, as if confronting an invisible force. Although most recognizable human characteristics are missing it has no eyes, nose, or even arms the tension invoked by the being is tangible. Even though the figure is technically expressionless, its ability to balance in extreme movement provokes an empathic response, acting as a model for dealing with life's occasional tumult.

- Jules Spector

Installation View 展览现场 | Ducato Prize 2023 | Volumnia, the former Sant’ Agostino Church, Piacenza, Italy Volumnia，圣奥古斯丁教堂，意大利皮亚琴察 | Photo 图片 ? Flavio Pescatori

Headwind曾于2023年在纽约Frieze艺术博览会展出，并获得2023年Stand Prize大奖。此作品亦入围意大利2023 Ducato Prize。在《逆风》（2023）中，人物猛烈地抵抗着一种看不见的力量，这种力量似乎在压制、扭曲和变形他们的身体。他们的头部和四肢大幅偏离身体的自然轴线，营造出强烈的运动感。艺术家在创作这件作品时遇到的技术挑战，也是她邀请观众在形而上层面思考的问题：如何在极端的运动和变化中保持稳定和平衡？

Headwind was exhibited at the 2023 Frieze New York and won the 2023 Stand Prize. This work was also shortlisted for the 2023 Ducato Prize in Italy. In Headwind (2023), the figure ferociously resists against an invisible force that seems to be suppressing, twisting and deforming their body. Their head and limbs deviate extensively from the body's natural axis, creating a strong sense of motion. The technical challenge the artist encountered while creating the work is also what she invites viewers to consider on a metaphysical level: How to maintain stability and balance in extreme movement and change?

廖雯由冯博一推选为ArtReview艺术世界未来之星2024之一

Liao Wen is recommended by Feng Boyi as one of ArtReview Future Greats 2024

即目而望，廖雯将身体的扭曲沉淀为“裸”的底色，在金属加固的结构里，构造了器官乖张的轮廓，间或刺破天际，促使我感受到破裂、压抑和重置的视觉张力，潜隐一种危险和不安的处境。甚至，这里凝聚着一种被束缚的能量，而这个能量是有重量的，既纠结于矛盾的角逐，又掣肘于对抗的平衡一恰如她的一次个展标题“接近坍塌的平衡”。她的视觉修辞不仅在她作品的对应关系中，还需要在她所规约的“聚合”中，不断被思考、探索与投射于超越女性经验的现实。远离现实使她的艺术保留了寓情的细末微节，以及她对身体色泽的抚慰，凸显了作品的质感与神秘。这种异质同构关系的吸附，更可以让人感受到她作品里沉默中的骚动，冷意中的热烈，无常中的永恒……可谓是一种在内心折射的抽象表现。她对媒介、形式语言和手作的迷恋，代偿了作品本身的物质性，并成为她一直以来专心致志的工作。

——推荐人：冯博一

近期展览

Recent Exhibition

廖雯参加广东时代美术馆群展“岛亦有道”

Liao Wen participated in the Group Exhibition A Thousand Channels at the Guangdong Times Museum

A Thousand Channels 岛亦有道 | curated by Tan Yue 由谭悦策展 | From 展期 2024.11.02 - 2025年.01.26 | Guangdong Times Museum, Guangdong, China 广东时代美术馆，中国广州

展览汇集16位（组）艺术家，通过影像、摄影、声音、雕塑、装置和历史材料等媒介形式的重新排演，在虚构想象、现实困境和未来猜想中徘徊，共同编织一部由人、神、怪、盗和水生物种共演的多幕剧。拨开历史疑云，从伶仃洋群岛上张保仔的宝藏，三婆神的船庙到大亚湾的海盗皇后，从济州岛的萨满、爪哇岛的迦楼罗传说，到兰屿悠扬低沉的吟唱……这些海洋传说、信仰与仪式，与远洋渔业、跨海基建、填海工程以及能源产业等当代海上神话交织重叠。海洋或许不再是难以征服的对象，却依旧是想象力的孕育之地。观众将被邀请进入一片漂移、开放的海域，在艺术家作品构筑的形态各异的岛屿与环礁间穿梭，体验如潮汐起伏般流动的剧目。在这片暧昧漂泊的疆域之上，寄托着何种愿景，又带来哪些当世寓言和末日启示？

——摘自“岛亦有道”展览介绍

The exhibition gathers 16 artists and groups who, through videos, photographs, sounds, sculptures, installations, and historical materials, re-stage narratives oscillating between fictional imaginings, real dilemmas, and future speculations that weave together a multi-act play starring humans, deities, monsters, pirates, and aquatic species. Piercing through a haze of historical doubts—from Cheung Po Tsai's treasure in the Wanshan Archipelago of Lingdingyang Bay to the boat temple of the water goddess San Po, and the Pirate Queen of Daya Bay…from the shamans of Jeju Island to the Garuda legends of Java, to the deep, resonant chants of Orchid Island (Lanyu). These maritime myths, beliefs, and rituals intertwine with contemporary maritime miracles surrounding deep-sea fishing, cross-sea infrastructure, land reclamation, and energy industries. The ocean may no longer be an unconquerable entity, but it remains a cradle of imagination. Audiences will be invited into a drifting, open sea, shuttling through the artistically constructed islands and atolls, and experiencing a performance that ebbs and flows like the tides. What visions linger in this ambiguous, drifting realm, and what contemporary parables and apocalyptic revelations do they evoke?

- From A Thousand Channels Press Release

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这两张陈列桌既是偶戏剧场，又借鉴了自然历史博物馆的展陈方式。每个物件都携带着故事，等待被激活。艺术家通过木偶戏的形式，将提线木偶、皮影和物体剧场相结合。鲸鱼则是作为贯穿叙事的主角。从14至18世纪威尼斯总督乘坐金船与海洋联姻的仪式“Bucentaur”，到16世纪荷兰记录抹香鲸死亡的版画；从似沙滩又似鲸骨遗址的迷你剧场，到一段争夺濒死鲸鱼的戏剧影像；艺术家在真实与虚构之间重新捕捞和重构关于陆地边界之外的海洋的古老想象。

她借此探索发生在海陆边界上的人与非人之间的能量交换，并反思博物学的知识积累与暴力和占有间的复杂关系。

These two display tables serve as both a puppet theater and draw inspiration from the exhibition methods of natural history museums. Each object carries a story, waiting to be activated. The artist combines marionettes, shadow puppetry, and object theater in the form of puppetry. The whale serves as the main character that runs through the narrative. From the 14th to 18th-century ritual of the Venetian Doge's marriage to the sea on the golden ship "Bucentaur," to 16th-century Dutch engravings documenting the death of sperm whales; From a mini theater resembling both a beach and a whalebone site, to a dramatic moving image of the struggle over a dying whale; the artist reclaims and reconstructs ancient imaginations of the ocean beyond terrestrial boundaries, navigating between the real and the fictional.

Through this, she explores the energy exchange between humans and non-humans occurring at the land-sea boundary, reflecting on the complex relationship between the accumulation of knowledge in natural history and the intertwined violence and possession.

廖雯及胶囊荣幸捐赠作品予2024Parasite香港慈善拍卖

Liao Wen and Capsule Honored to Donate Works to 2024 Parasite Benefit Auction

2024 Parasite Benefic Auction 香港慈善拍卖 | Visual Design: Jian Yang 平面设计：杨坚

Installation View 展览现场 | 2024 Parasite Benefit Auction 香港慈善拍卖 | Courtesy of the Artist and Parasite 图片致谢艺术家和Parasite艺术空间

Liao Wen 廖雯 | Itch 痒 | 2022 | lime wood, stainless steel spring, yellow crystal, feather 椴木、不锈钢弹簧、黄水晶、羽毛 | 33 x 38 x 9 cm

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《痒》是廖雯的“Sensation”系列作品之一。该系列雕塑受到古罗马解剖祭祀雕像的启发，通过廖雯富有诗意的雕塑语言，具象化了诸如呼吸、呕吐和瘙痒等容易被忽视的身体体验。

Itch is from Liao Wen’s Sensation series. Inspired by ancient Roman anatomical votive statues, the series of sculptures materialises easily neglected bodily experiences such as breathing, vomiting and an itch through Liao’s poetic sculptural language.

廖雯入选为瑞士文化基金会2025年驻留艺术家之一

Liao Wen Shortlisted for Pro Helvetia 2025 Residency Program

瑞士文化基金会上海办公室荣幸宣布2025年艺术家驻留的最终人选。基金会共收到了249份精彩提案，在有力的竞争者中进行择选。经由上海及苏黎世办公室的共同研讨，最终选出了共9组胜出者，支持他们明年的驻留计划。

他们分别是：陈逸飞、洪天贻、廖雯、索耳、Tomas Baumgartner、Colin Bottinelli、Rebekka Friedli、Anan Fries、Jessiquoi。

延续她自2021年开启的「节律之仪」系列创作，廖雯将在这次瑞士之行继续她对仪式、神话及身体的长期研究。她将参与瑞士现代及传统仪式、节日，从女巫滑雪赛事行至狂欢的巴塞尔；从凛冬游荡着鬼魅的雪原到初春响彻牛铃的山城，去探究仪式如何受地貌、历史和语言等因素影响，发展或革新出截然不同的物质形式和形制。她将从物质与象征、身体与投射、禁忌与僭越三个角度切入考察，把对瑞士的仪式研究与她过去对希腊、中国的仪式研究进行比较，重新解读人类与仪式的依存关系。她将通过摄影、录像、手绘草图及采访等方式收集文献资料，并开展表演讲座、工作坊等活动。

This year, the Swiss Arts Council is thrilled to have received 249 applications through our annual open call. After undergoing a joint discussion with our colleagues in Switzerland, they have chosen the following nine candidates, who will be granted our support to realize their proposals in 2025.

Artists selected to residencies in Switzerland: Chen Yifei, Hong Tianyi, Liao Wen, Suo Er, Tomas Baumgartner, Colin Bottinelli, Rebekka Friedli, Anan Fries, Jessiquoi.

Liao Wen's residency in Switzerland will continue her long-term investigation into rituals, myths, and the body. Liao will explore the Swiss festivals from the aspects of material symbolism, bodily projections, taboos and transgression. Through photography, video, sketches and interviews, she will put together a lecture performance and develop renewed readings of the human condition.

关于艺术家 ABOUT THE ARTIST

廖雯现居香港。2019年硕士毕业于中央美术学院。廖雯以雕塑、表演和影像为媒介。她汲取来自木偶学、神话-仪式人类学、医药学、艺术史的养分，思考投射到身体上的社会秩序、技术与权利的规训。其创作兼具原始与未来感，展露身处阈限阶段的不安定，以想像未来身体的可能性。

她的个展包括胶囊空间（威尼斯，2024；上海，2021）；蔡锦空间（北京，2021）。近期群展包括，广东时代美术馆（广州，2024）；首届泛东南亚三年展（广州，2023）；Cassina Projects（米兰，2023）；Franc?ois Ghebaly画廊（洛杉矶，2022）；“飞去来器-第九届OCAT双年展”（深圳，2021）等。她获2023年Frieze 纽约艺博会的Stand Prize，亦入围2023年意大利Ducato Prize。廖雯的作品被纽约时报、Art in America、艺术新闻（中文版）、ArtReview艺术世界等刊物报道。她将于2025年在瑞士文化基金会的支持下前往瑞士进行驻地考察。

Liao Wen lives and works in Hong Kong. She received her MFA from the Central Academy of Fine Arts China in 2019. Liao Wen’s practice spans sculpture, performance, and video. Drawing inspiration from puppetry, anthropology of myths and rituals, medicine, and art history, she interrogates the social order, technology, and disciplining power projected onto the body. Both primordial and futuristic, her works depict the unsettling balance of the body in the liminal state and imagine future bodily possibilities.

Her solo exhibitions include Capsule Shanghai (Venice,2024; Shanghai, 2021); Cai Jin Space (Beijing, 2021). She has participated in group exhibitions, Guangdong Times Museum（Guangzhou，2024）；The First Trans-Southeast Asia Triennial (Guangzhou, 2023); Cassina Projects (Milan, 2023); Fran?ois Ghebaly Gallery (Los Angeles, 2022); OCAT Biennale 2021 (Shenzhen, 2021), among others. She was awarded the Frieze New York Stand prize in 2023 and was a finalist artist for the Ducato Prize in 2023. Her works have been featured in publications such as The New York Times, Art in America, The Art Newspaper China, and ArtReview. She has been selected to be the resident of Pro Helvetia in Switzerland in 2025.

胶囊上海当前展览????????

Current Exhibition at Capsule Shanghai

蔡泽滨：北纬二十三度的十二个故事????

Cai Zebin: 12 Tales of the 23rd Parallel North????????

将展出至2025年1月25日

Until January 25, 2025??????????????????????????????