Opening on 1st March 2023, "Durian • Durian: Regional Art Research as Methodology", this exhibition is a phased summary of the Pan-Southeast Asian Studies Sequence exhibitions and research projects, which has been ongoing for three years. The exhibition is divided into: Special Exhibition Section, "Knowledge of Natural History" Section, "Review of Serial Studies" Section and "Learning from the Rainforest" Section. The special exhibition section invites young artists from the pan-Southeast Asia region, both domestic and international, to exhibit their ongoing artistic practice in recent years around relevant historical, social, cultural and other issues related to the region.
In addition, this section also specially invites overseas Chinese and artists scattered around the world to participate. The universal humanistic concern and spiritual quest in their works suggest that from the early globalization to the post-globalization era, the understanding of world art has long gone beyond the static framework of art development history divided by regions into a more fluid, complex and mixed state of multiple symbiosis.
Special Exhibition Section
/ Exhibition Halls /
Hall 1 and 2
/ Artists /
赵与林Zhao and Lin、潘涛阮Pan Taoruan、席华Xi Hua、林植Lin Zhi
陈嘉璐Chen Jialu、朱湘Zhu Xiang、许培武Xu Peiwu
麻剑锋Ma Jianfeng、杨健Yang Jian、马海蛟Ma Haijiao、
彭文彪Peng Wenbiao、一米One Meter
/ Curatorial Researcher /
/ Assistant Researcher /
L u o Yu b i n g
《我想带你环游世界》I Want to Bring You Around the World
赵与林 Zhao and Lin
I Want to Bring You to the World was created by husband-and-wife artists Zhao and Lin, that is, Zhao Feng and Lin Huiyi respectively.
Since 2010, they have consistently used statistics, mathematics and computing techniques to solve global problems.
Through typology and photography, their projects are driven by a learning background in economics, public policy, and media, and are further enhanced by ongoing exchanges with experts in these fields. They have had a solo exhibition at the United Nations Convention Center in Bangkok, and exhibited at the Museum of Modern Art (MoMA) in New York, the Arles International Photo Festival in France, and the Milan Triennale, among other places.
The photos were taken at the Beijing World Park, which opened in 1993, the same as the Window of the World in Shenzhen, which opened exactly one year later. They are the products and memories of the trend when we went global in the 1990s.
The inspiration for the work comes from how the artist and his mother were affected by what happened to them as children. They found the concept of memory ambiguous. Although scientists are still learning more about how our brains work, in one respect, memory is completely personal. What you remember is never a facsimile of another person's memory, even if you were in the same place at the same time. We all start from our own worldview, even as parents and children growing up in the same family. As parents, they want to give their children direction, they want to show them as much as they can, explain as many theories as they can, share as many anecdotes as they can. As this text on the wall says:
Show you the way.
Show you the light.
Shows you who you can be, or shouldn't be.
To understand that there is a ceiling to everything we can do.
But, artificial ceilings can also be broken.
We want to hold your hand forever.
But we can't.
《“一个孩子”系列》T h e " On e Ch i l d" Se r i e s
林植 Lin Zhi
When it comes to the birth of his ONECHILD style, it can be traced back to 2007, when he was a freshman in college.
He had the idea of writing a novel, One Child, about the post-1980s generation. The people in the novel, who love rock music, subculture and independent thinking, are all young people who are full of expectations for the future. When words failed to satisfy his expression, however, he began drawing on notebooks, which led to ONECHILD's original cartoon character. The novel was completed in 2011, but the expression of painting started from then on. He experiences the touch of characters in time and space in his life, which is a kind of dimensional projection for his works. ONECHILD is his substitute or shadow. The material and emotional debris in life, the mystery and curiosity of the universe, the pluralistic will of society, the roots and reshaping of faith...All appear in his images with interpretations higher than words. The picture represents a dimension between zero and one, where you don't need to know the answer or the meaning, and he is a child, just a child, giving you a moment of concentration or a certain kind of purity and resonance that you have not had for a long time.
《金枕之屋》The House of the Golden Pillow
席华 Xi Hua
Durian is a fruit unique to Southeast Asian countries and South China. Artists call it "big fruit". People love and hate durian because of its unique appearance and strong smell. The diversity and complexity of durian seem to reflect the social environment we live in, as well as the complex relationships between people, countries and regions!
The House of the Golden Pillow tries to enlarge this particularity of durian by extension. For example, the durian thorn outside the house uses the image of a traffic safety cone. Although exaggerated, there is an internal logic and correlation between the two.
The exterior and interior of The House of Golden Pillows, although with sharp durian thorns, looks dangerous, but these sharp thorns are made of artificial rubber, gently touch it will not hurt. Outside, the faint rubber smell of durian thorns may make you feel the air is a little strange;Inside, the strong smell of durian is exhilarating!
It is this connection and contrast between sight and touch and smell, between inside and outside, between cone and needle, between material and content that makes this work interesting.It resembles a street shop, a rental house, a trading ground, a miniature guard post, or a border checkpoint.The objects, the pictures, the acrylic paintings in oil paint, evoke many associations for the entrant: associative and uncertain.
The work is a metaphor for reality, presenting the interdependence, problems and contradictions between Southeast Asia and neighboring countries and regions! Of course, there are moments when the durian smells good and everyone is happy!
The Transoceanic Experience of a Chaoshan Family for nearly a Century
The artist's birthplace, Chaozhou Longhu Ancient Village, was founded in the Song Dynasty, surrounded by the Ming Dynasty and flourished in the Qing Dynasty. The 100 large houses in the "three streets and six alleys" of the ancient village have been well preserved, reflecting the different architectural styles of the Song, Ming and Qing dynasties.In November 2012, it was selected as one of the ten most beautiful Ancient Villages in Guangdong Province.
The big house of the artist's family was built in the late Qing Dynasty. It was built by his grandfather's grandfather who earned money in Nanyang in his early years.In 1936, the artist's grandfather crossed the sea from Longhu Ancient Village to Kelantan, the east coast of the Malay Peninsula in Malaysia and the border with Thailand, to make a living. In 1938, his grandmother took his father and his third aunt to Kelantan. In his early years, his father set up a small shop named "Chengfa Hao". After the founding of the People's Republic of China, he returned to China in 1950 to join the People's Liberation Army and retired as a police officer. In 1992, he finally had the opportunity to visit relatives in Malaysia. Under the management of his grandfather and second uncle, Chengfa Haohao became the largest supermarket run by Chinese in many places. I have five uncles and two aunts living in Kelantan, Kuala Lumpur, Johor, Penang and Singapore. My third uncle returned to China in 1958 to study at university and became a teacher. My forth uncle returned to China after the reform and opening up to do business, now living in Shanghai.
In 2006, the artist was invited by Life magazine to take photos of his family story in Malaysia, starting from his hometown Longhu Ancient Village and following the footsteps of his grandfather and father. And here on the wall is a map showing these routes back and forth.
《物联网》Internet of Things
杨健 Yang Jian
The miniaturization of data detection and transmission equipment makes it very likely that all kinds of substances in our lives will be connected to the network in the near future and constantly send the information it collects to the terminal. As a result, our private lives will be increasingly transparent, open to whomever we wish and whomever we wish not. The plants getting online is a ludicrous preview of this future.
《金枝岛》I s la n d o f t h e G o l de n B o u gh s
麻剑锋 Ma Jianfeng
Ma Jianfeng is good at making use of daily life waste materials for creation. He disassembles the order of inherent elements in materials and by means of type disassembling and combining, creates a chaotic and dramatic field full of ambiguous energy with the presentation of painting devices. In 2019, the artist went to the Island of the Golden Boughs in Malaysian Borneo to participate in the one-month off shore residency project. The images in this exhibition are some of the records of working and living on the island.
《彩云追月》Clouds Chasing in the Moon
彭文彪、一米（卤味高清频道成员）Peng Wenbiao and One Meter (members of the Lo Wei HD Channel)
The Lo Wei HD channel started in August 2016 as an artistic creation group of six people: Peng Wenbiao, One Meter, Li Guanting, Chen Shiying, Chen Hengchun and Feng Yizhi. The members, all from Guangdong Province, are influenced by popular culture in Cantonese and the Pearl River Delta, and believe that social phenomena and individual experiences contain age-specific genetic information. The artists take this information and reconstruct it into different narratives, bringing it back into the audience’s visual experience through videos, illustrations, texts and other forms.
"Clouds Chasing the Moon" focuses on the love affair of A Yun, a female worker in a Shunde garment factory. Cultural symbolic elements such as food, clothing, housing and transportation construct A Yun's cognition of "foreign land". However, the boundary between "foreign land" and "hometown" gradually breaks down in a Yun's attempt to be recognized.
The same fuzzy boundary exists between the Internet world and the daily work of assembly line. Watching short videos has become A Yun's choice for relaxation. Instead of the boring life on the assembly line, short videos show mountains, and scenery. The life in the clouds gives A Yun recognition and even a vague sense of superiority. A Yun carefully manages her most positive projection of life and self online, while being fed and counter-shaped by cluttered information, creating a strong sense of alienation from misplaced reality. The work is a condensed version of A Yun's life. It is a reference system of culture and boundaries that A Yun has established to reflect on modern problems with social commonalities.
《不是。是真实的反应》N o , I t ' s a R e a l R e a c t i o n .
马海蛟 Ma Haijiao
“No, It’s a Real Reaction” is the first work of Landscape Project, the author depicts three characters, a fleeing soldier, a young woman and a psychiatrist. It interprets their lives, their delusions of personality, their weariness of the familiarity and their hope of the unknown in their intersections.
These emotions are derived from the landscape clips taken during the author’s travels in northeast China and Bali, Indonesia, in early 2014. And composition of the work is the split screen juxtaposition of the character images and the landscape images.
The "Landscape Project" is a long-term personal creation project of Ma Haijiao, which takes place at intervals of one to two years. In 2014, he completed the first work of this project, "No, It's a Real Reaction". This work takes the landscape images he took during his travels in Northeast China and Bali, Indonesia as the temperament tone, and then takes the theatrical shots of interior character images. Finally, the juxtaposition of the impromptu landscape images and the recreated images is used as the display structure of this work. Since then, Lying Dreams, Lies that Tell Dreams created in 2015 and Happy Zone created in 2018 have continued to extend the framework of the "Landscape Project".
The author describes this method of working as a painter’s daily emotional sketches, which are then used as material or basis for returning to the studio to create formal paintings. At the level of creative structure, he is thinking about how to transform the images obtained from daily trips into an image work. In other words, it is a question about how to find creative clues.
《姑婆芋》T h e A u n t T a r o
陈嘉璐 Chen Jialu
Aunt taro is a kind of plant, commonly found indoors, urban greenbelts, wild suburbs and mountain forests. It adapts to cool and wet environment. It is drought-tolerant, highly growable, and often grows itself without planting. It is very similar to taroin appearance, but is poisonous. People can be poisoned if they eat it; and touching the juice can cause itching and swelling of the skin.
Aunt, the name given to the female elders of the paternal clan. It also refers to unmarried, isolated, and “threatening” elderly women. Along the Xijiang River, self-grooming women are sometimes referred to as aunts, and in the Pearl River Delta, it is also one of the names for self-grooming women. The house where they gather is called “aunt house”.
《谭金娇消失在大亚湾》T a n J i n j i a o Disa ppe a rs i n t o D a y a B a y
朱湘 Zhu Xiang
Tan Jinjiao, a female fisherman during the Republic of China, first appeared in a report by the Hong Kong Industry and Commerce Daily. The adaptation of the story based on "The Pirate Queen" continues, with audiences at home and abroad moving from news reports to adventure stories. During the same period, among the females known as "Pirate Queen", only the appearance and image of Tan is missing. The artist's real body proportion makes the sand and stone statue of female pirate Tan Jinjiao, which presents variations related to the sea: incomplete and mutated parts, shells, conches, oyster shells, coral, parasitic barnacles attached to the shape of sand and stone...They are like indescribable things sleeping on the bottom of the sea, as if projecting human excess desires.