豐容

Enrichment

2023.11.07 - 2023.12.10

開幕 Opening:

2023.11.07 15:00 - 19:00

藝術家 Artist:

楊迪

Di Yang

董孝馳

Xiaochi Dong

策展人 Curator:

付若瑄

Roxane Fu

2023年11月7日，楊迪（Di Yang）、董孝馳（Xiaochi Dong）的雙個展“豐容”（Enrichment）將在南柯畫廊開幕。兩位藝術家橫跨繪畫、裝置、影像等多種媒介的作品將在畫廊縱深的空間內交錯排布，在呈現出各自不同的藝術理念和創作風格的同時，共同圍繞著“豐容”這個主題，討論“內部”的自我意識和“外部”的客觀存在對立又相互托生的關系。

On November 7, 2023, the dual exhibition Enrichment by artists Di Yang and Xiaochi Dong will open at the Nan Ke Gallery.Spanning various mediums including paintings, installations, and video, the artworks will be intricately arranged within the gallery's expansive space. While showcasing their distinct artistic philosophies and creative styles, the exhibition will revolve around the theme of 'Enrichment'. It will delve into the intertwined relationship between internal self-awareness and external objective existence, discussing the paradoxical yet symbiotic connection between the 'internal' self and the 'external' reality.

展覽主題“豐容”是一個動物園術語。指在圈養條件下，通過有策略性地使用道具、食物、氣味等因素，刺激所飼養的動物，使他們進行更多的原自然行為的做法。

此次展覽中，畫廊的場域本身就類似一個大的生態缸，而展覽則是對棲居其間的藝術家和作品進行的“豐容”。人類作為靈長類動物的后裔，具有樹棲的天性。由此延伸，展覽在南柯畫廊的空間內采用垂直的方式展開，在不同高度分配兩位藝術家的作品和屬地，縱向交疊中既展示出藝術家各自獨立的風格，也在動線中貫穿展覽統一的內核。

“豐容”脫胎于董孝馳的藝術理念。在他的藝術歷程中，“生態缸”一直是他喜愛的觀察對象。“它是一個模擬適應動物習性的人造環境，卻比自然原生態的環境更加穩定。”

The exhibition theme ‘Enrichment’ is a term from the field of zookeeping. It refers to the practice of stimulating captive animals to engage in more natural behaviors by strategically using props, food, scents, and other factors within enclosed environments. This encourages the animals to exhibit behaviors closer to their natural instincts and habits.

In this exhibition, the gallery space itself resembles a large ecological tank, and the exhibition serves as an 'enrichment' for the artists and their works residing within it. As descendants of primates, humans possess an inherent arboreal nature. Extending from this concept, the exhibition in the space of Nanko Gallery unfolds vertically, with the works and territories of two artists being distributed at different heights. Through this vertical overlapping, the exhibition not only showcases the artists' distinct styles but also weaves a unified core throughout the exhibition's layout and movement pathways.

'Enrichment' originates from the artistic philosophy of Xiaochi Dong. Throughout his artistic journey, the "ecological tank" has remained a cherished subject of observation for him. "It is an artificially created environment that simulates animal behavior adaptations, yet it is more stable than the environment in its natural, pristine state," he explains.

董孝馳 Xiaochi Dong

無畏結果 Would Bamboo Bloom, 2022

墨、火山土粉末、亞麻布

Ink and volcanic clay on linen

130h x 160w cm

? Courtesy of the artist and Nan Ke Gallery

此次展出的作品中，在畫廊二層分散陳列的作品模仿了生態缸內熱植的形態，提供了從生態缸內部向外部觀察的視角。在過去的創作中，董孝馳從上海植物園和倫敦邱園等溫室植物場域取得靈感，這樣的“觀察”通常是從外向內的。

在創作的積累中，他逐漸轉換視角，將空間縮小到自己在倫敦飼養箭毒蛙的生態缸的同時，也將“觀察”的角度轉移到了從內向外的凝視，借由所飼養動物的角度觀察外部的所謂“現實世界”。

對于董孝馳而言，本科和研究生階段在上海學習中國傳統繪畫的經歷對他的創作風格產生了深遠的影響。在他創作的畫面上，山水、樹石的微小筆觸與歐洲繪畫的點彩風格相結合，創造出細微參差的紋理。結合火山灰等材料，創造出冷靜、理性而又朦朧、溫情的效果。

Among the exhibited pieces, the artworks dispersed on the gallery's second floor emulate the forms of tropical plants within the ecological tank, offering a perspective that allows observation from the interior to the exterior. In his past creations, Xiaochi drew inspiration from greenhouse environments like the Shanghai Botanical Garden and the Kew Garden in London. Typically, this kind of "observation" occurred from the outside looking in.

However, as his creative journey evolved, he gradually shifted his perspective. He narrowed his focus to the ecological tank where he kept poison dart frogs in London, transitioning his gaze from an external observation to an inward one. Through the lens of the animals he cared for, he began to scrutinize the so-called "real world" outside, offering a unique insight from the inside out.

For Xiaochi, his undergraduate and graduate studies in traditional Chinese painting in Shanghai have profoundly influenced his artistic style. In his artworks, the delicate brushstrokes of mountains, rivers, trees, and stones merge with the pointillist style of European painting, creating subtle and intricate textures. By incorporating materials like volcanic ash, he achieves a serene, rational yet hazy, and warm effect in his creations, blending precision with emotion.

如果說董孝馳的藝術語言呼應了“豐容”的內涵，楊迪則拓展了“豐容”這一概念的外延。此次展覽的一系列新作以南柯畫廊的空間為出發點展開，老式公寓的結構使他想起作家筆下的敘事空間。在這樣的語境下，他以自己一貫的藝術語言，通過影像、裝置等多種表現形式，回應現代人的精神困境。

將坐標尺拉伸到宇宙的維度，地球本身就類似一個生態缸，而以此為家園的人類則仿佛生態缸中被維護的動物。學者David J. Mellor認為動物福利包括五款，而“豐容”則是在維護其“不受限制表達天性的自由”。在現代文明提供了充裕的生存必需資源，甚至于精神享受的物料之后，集體精神狀況依然日益崩塌的現狀似乎也在隱喻著“豐容”的缺失。

這不禁讓人思考，人類作為所謂的高級動物，在異化的社會中究竟有什么需求一直沒有得到滿足，甚至沒有得到足夠精準的定位和認知。楊迪的作品則似作家創作小說一樣以敘事結構徐徐展開，旨在回應這一亙古的謎團。

While Xiaochi's artistic expression resonates with the connotation of 'Enrichment', Di Yang expands the concept's denotation. In this exhibition, a series of new works unfold from the space of Nan Ke Gallery, drawing inspiration from the layout of an old apartment building that reminded him of the narrative spaces described in literature. Within this context, using his consistent artistic language, Di responds to the contemporary human existential crisis through various forms of expression, such as imagery and installations.

Expanding the scale to the dimensions of the universe, Earth itself resembles an ecological tank, and humans, who consider it their home, are akin to the animals nurtured within this ecological tank. Scholar David J. Mellor identifies five dimensions of animal welfare, with 'Enrichment' representing the preservation of their "freedom to express their innate behaviors without constraints."

Despite the abundant material resources and even spiritual pleasures provided by modern civilization, the deteriorating collective mental state seems to metaphorically reflect the absence of this sense of 'Enrichment'.

This prompts one to contemplate what needs of humans, the so-called advanced animals, have not been fulfilled in our increasingly alienated society. These needs have not received precise positioning or recognition. Yang Di's works unfold like a novelist crafting a story, aiming to respond to this ancient enigma. Through narrative structures, his art endeavors to address these profound questions.

楊迪 Di Yang

泡沫女孩 Foaming Venus, 2023

2K video installation, 10min 52sec

1920 x 1080

? Courtesy of the artist

一層半的空間被塑造成仿佛浴室的景觀，播放楊迪的影像作品《泡沫女孩》。在文學作品中，浴室常被描繪成家庭生活的避難所。在影像中，一個青年女孩在浴室里面唱歌。她時而扮演一位理想中的idol，時而是一個從家庭生活中暫時躲避的青少年。似乎她理想的形象可以是很多人，唯獨除了她自己這個“本體”。

三樓的隔間營造了仿佛上海老式發廊的空間，展示了串聯所有圖像的ASMR作品。聲音像一個游蕩在發廊的幽靈，引導觀眾先從發型的更換，到潛入水底。在結尾處，它用聲音描繪動作，慢慢將“顧客”的皮膚扒下，并給其一個更換外表的契機。藝術家試圖以此探討“外在形象”和“身份”的辯證關系。并由此延伸，討論社交標準對現代人精神本體的要求、規訓，甚至毒害。

一旁的展覽空間中，墻面上以牛皮材料展示各類梳子圖樣的架上作品也在呼應這一思考。當外在形象受制于社會和身份約定俗成的標準時，無論是向內挖掘改變的勇氣，還是向外呼吁維持的權利是否都是對于精力的大量占據和侵蝕，都會擠壓本就搖搖欲墜的精神本體的生存空間？

當這些作品以相互獨立又被主旨統一的元素的形態交織在老洋房的空間內，似乎構成了小說家創作過程中忽然閃現的靈感來源，被立即以野生的狀態記錄、定格，等待觀者加入創作，以自己的思路和偏好補全整個故事線。

The space of the lower floor has been transformed to resemble a bathroom landscape, screening Di's video work Foaming Venus. In literary works, bathrooms are often portrayed as sanctuaries within the realm of domestic life. In the video, a young girl sings inside the bathroom. At times, she portrays an idealized idol, and at other times, she represents a teenager temporarily escaping from family life. It appears that her idealized image can be anyone except her own authentic "self."

The partition on the third floor has been designed to resemble the atmosphere of an old-fashioned Shanghai hair salon, showcasing ASMR (Autonomous Sensory Meridian Response) works that connect all the images. The sound functions like a ghost wandering through the salon, guiding the audience from hairstyle changes to diving underwater.

Toward the end, it uses sound to depict actions, slowly peeling off the "customer's" skin and providing an opportunity to change one's appearance. The artist aims to explore the dialectical relationship between "external image" and "identity." This exploration extends to discussing the demands and regulations of social standards on the essential essence of modern individuals, even to the extent of their toxicity.

In the adjacent exhibition space, artworks feature various comb patterns presented on walls covered with leather material, echoing these contemplations. When external appearances are confined by societal norms and established standards of identity, the courage to seek inner change and the right to maintain outward appeal both demand significant mental energy. These demands and encroachments can potentially compress the already precarious mental essence's space for survival.

When these works, with their interwoven yet individually distinctive elements unified within the space of the old Western-style house, they appear to embody the sudden flashes of inspiration that occur in a novelist's creative process. These inspirations are immediately captured and frozen in their wild state, waiting for viewers to join the creation. Each viewer can contribute to the storyline with their own perspectives and preferences, completing the narrative in their unique way.

“豐容”作為展覽主題，不僅呼應了兩位藝術家的創作內容和藝術理念，也統協了布展思路和展覽傳達。 “雙個展”的思路沿襲了“社群豐容”的概念。在生態缸中，混養不同品種的生物不僅可以增加觀賞效果，也可以向觀者闡述生物多樣性。 兩位風格迥異又具有相通之處的藝術家，將橫跨繪畫、影像和裝置等多種表現方式的藝術品分散在空間內，呈現出獨特而豐饒的藝術生態。

觀者被邀請進入“豐容”的展覽， 幫助完成了整個概念的敘述。這既可以看作對畫廊呈現的，經過了豐容的藝術生態的游歷，也可以視為以看展這一行為對自己的日常生活進行豐容和調劑。通過“生態缸”引申到“浴室”，甚至于畫廊場域和社會生活的密閉飼養的空間概念，便由此被補全。

The theme 'Enrichment', not only resonates with the artistic content and philosophies of the two artists but also harmonizes the exhibition layout and communication. From an organizational perspective, the concept of a 'dual solo exhibition' follows the idea of 'community enrichment'. Much like the diverse species coexisting within an ecological tank, mixing different artistic styles not only enhances the visual appeal but also communicates the message of biodiversity to the viewers. This exhibition connects two artists with distinct yet interconnected styles, dispersing their artworks across the space through various forms such as paintings, videos, and installations, resulting in a unique and abundant artistic ecosystem.

When viewers are invited into the exhibition of Enrichment, they actively contribute to the entire narrative of the concept. This participation can be seen as a journey through the enriched artistic ecosystem presented by the gallery. Simultaneously, it can be viewed as an act of enriching their own daily lives through the act of attending the exhibition. The concept, extending from the 'ecological tank' to the 'bathroom' and even to the notion of enclosed and nurtured spaces within gallery domains and social life, is thus completed through this participation and engagement.

文/付若瑄

Text by Roxane Fu

藝術家Artist

楊迪 Di Yang

楊迪（Di Yang, b.1990），現居蘇州。

2015-2020年，獲得德國杜塞爾多夫藝術學院研究生學位，師從藝術家Martin Gostner 和 Dominique Gonzalez-Foerster，并得得到大師生榮譽。

2008-2012年，獲得四川美術學院新媒體藝術專業本科學位。

獲獎：

2021年 第九屆華宇青年獎入圍

2021年 杜塞爾多夫藝術協會-北威州藝術基金獎項

2020年 杜塞爾多夫藝術學院畢業生獎

2012年 四川美術學院學院獎

展覽：

2023 年 白洞：甲骨文的奧秘與當代表意，798cube 美術館，北京

2023 年 Cafe Crush，BlOOM 藝術空間個展，杜塞爾多夫

2022年 改造未來——第八屆上海多倫青年美術大展，上海多倫美術館，上海

2022年 野餐計劃，歌德學院北京，北京

2022年 起航-新當代藝術展，成都市美術館，成都

2022年 “科幻與幻想”影像展，羅馬國立二十一世紀當代美術館，羅馬

2022年 輕重之軀——草場地青年藝術群展，蘇州

2021年 三亞藝術季——第九屆華宇青年獎入圍展覽，三亞

2021年 蘇州聲色，金雞湖美術館，蘇州

2021年 一個人在荒島——生命延續的另外一種形式，閬風藝術畫廊上海

2021年 我認出了世界——生于八、九十年代，銀川當代美術館

2021年 科幻——前時間/無時間的旅行，kuenstlerhaus-dortmund，多特蒙德

2021年 窗，符望藝術空間，北京

2021年 Coming to Voice群展，K21美術館，杜塞爾多夫

2021年 "軟著陸"個展，Bloom藝術空間，杜塞爾多夫

2020年 雙城記，成都重慶當代影展，成都當代影像館

2019年 Die Grosse，Museum Kunstpalast Düsseldorf，Klasse Gostner，杜塞爾多夫藝術宮美術館

2019年 Just A-Sittin’ And A-Rockin’，Künstlerverein Malkasten，杜塞Malkasten藝術協會

2019年 “盲點”群展，閬風藝術畫廊，上海

2018年 C.A.R 2018，Medienkunstmesse，德國魯爾區當代藝術媒體藝博會

2017年 Akademie [Arbeitstitel]，Kunsthalle Düsseldorf，杜塞多夫市立美術館 50周年展

2017年 Aus jedem Dorf ein Hund群展，kuenstlerhaus-dortmund，多特蒙德藝術家之屋

2017年 Kempten藝術之夜，德國Kempten Museum美術館

2013年 EXIN亞洲實驗電影與錄像藝術論壇，北京元典美術館

2013年 細胞加工廠，成都美術館，成都

電影節：

2019年 Bye bye Comrade攝影指導，藝術指導，香港國際電影節

2018年 Athens Animfest入選

2018年 Bye bye Comrade德國北威州電影短片基金項目逐幀動畫短片，攝影指導，藝術指導，雅典動畫電影節

2018年 Bye bye Comrade攝影指導，藝術指導，Essen第八屆Rodeo電影展

2015年 烏蘭巴托中國實驗電影展映，蒙古

2013年 西寧國際First電影節，?海?

2013年 EXIN亞洲實驗電影與錄像藝術論壇，臺北牯嶺街小劇場，北京展映

2012年 第九屆中國獨立影展，南京

2012年 第九屆北京獨立影像展，北京

Di Yang was born in 1990, lives in Suzhou.

In 2020, he graduated with a Master's (Diplom) in Free Art from the Art Academy of Düsseldorf, Germany, where he was awarded the honor of Meisterschüler (Grand Master).

In 2012, he graduated from the Sichuan Fine Arts Institute with a degree in Film and Video Photography from the Department of New Media Art.

Award:

2022 Reisestipendium, NRW Kunstverein und Stadtsparkasse Düsseldorf

2021 Huayu Youth Award 2021 Finalist

2020 Absolvierendenpreis der Kunstakademie Düsseldorf

2012 Sichuan Academy of Fine Arts graduate creative Academy Awards, Chongqing, China

Exhibition:

2023 White Hole: The Mystery of Oracle Bones and Contemporary Meaning, 798 cube Art Museum, Beijing, China

2023 Cafe Crush, Solo Exhibition at BlOOM Art Space, Düsseldorf, Germany

2022 The eighth Shanghai Duolun Youth Art Exhibition, Shanghai

2022 The Intimate Revolt, Goethe-Institut Beijing, Beijing

2022 Sailing-New Contemporary Art Exhibition, Xihai Art Museum, Qingdao

2022 The Hidden Everyday, Chengdu Art Museum, Chengdu

2022 Science Fiction and Hallucination, MAXXI-National Museum of 21st Century Art, Roma

2022 A Light and A Heavy Body, Caochangdi Young Artists Group Exhibition, Beijing

2021 Sanya Art Huayu Youth Award 2021, Finalist, Sanya

2021 I Recognise the World-Born in the Eighties and Nineties, Yinchuan Contemporary Art Museum, Yinchuan

2021 Science-ex/timeless travels, kuenstlerhaus-dortmund, dortmund

2021 Through the Window, Fernweh Artgallery, Beijing

2021 Weiche Landung, Bloom, Düsseldorf

2021 Coming to Voice, Graduates of the Düsseldorf Academy of Arts 2020, K21 Museum Düsseldorf

2020 Chengdu Contemporary Image Museum, Chengdu

2019 bilnd point, Langfeng Artgallery, Shanghai

2019 Die Grosse, Klasse Gostner, Kunstpalast Düsseldorf

2019 Just A-Sittin' And A-Rockin', Künstlerverein Malkasten, Düsseldorf

2018 Contemporary Art Ruhr, Medienkunstmesse, Essen

2017 Akademie [Arbeitstitel], Kunsthalle Düsseldorf

2017 Aus jedem Dorf ein Hund, kuenstlerhaus-dortmund

2017 Kunst Nacht Kempten, Kempten Museum, Germany

2013 InductorII, Experimental Art Exhibition, Songzhuang Art Festival

2013 Experimental Film and Video Art Forum, BeijingYuan Dian Art Museum

2013 cell factory, Chengdu Museum

Film Festival:

2019 Bye bye comrade, Cinematographer and Art Director, Hong Kong International Film Festival, Hong Kong, China

2018 Bye bye comrade, Cinematographer and Art Director, Athens Animfest, Athens, Greece

2018 Bye bye comrade, Cinematographer and Art Director, 8th Video Rodeo, Essen, Germany

2015 Ulan Bator Experimental Film Festival, Ulan Bator, Mongolia

2013 EXIN Asian Experimental Film and Video Art Forum, Taiwan, China

2013 Beijing Film Academy New Media Art, Triennial, Beijing, China

2013 First International Film Festival Xining, Xining, China

2012 The 9th Beijing Independent Film Festival, Beijing, China

2012 Dalian Independent Film Festival, Dalian, China

董孝馳 Xiaochi Dong

董孝馳 （Xiaochi Dong)

生于1993年，碩士畢業于英國皇家藝術學院，現生活工作于倫敦與上海。

董孝馳的藝術實踐以中國古典繪畫為基底，并探索當代繪畫的實驗邏輯，作品因而具有調和不同美學傳統的視覺特征。藝術家從不同尺度的人造景觀——古典園林、現代植物園與微型生態缸——中獲取靈感，探索不同觀念對于自然的模擬、仿造與壓縮。董孝馳的創作主要涉及繪畫與綜合平面作品。通過創作飽含光線、濕度與氣氛暗示的畫面，藝術家旨在為當代的自然圖景賦予形式。

教育：

2021-2023

MA 繪畫，皇家藝術學院，倫敦

2015-2018

MA 中國畫系，上海美術學院，上海

2011-2015

BA 中國畫系，上海美術學院，上海

展覽：

嫩如瀝青，Sherbet Green畫廊，倫敦，2023 年

借用時間的園藝，Studio West畫廊，倫敦，2023 年

重返自然，明珠美術館（PAM），上海，2023 年

RA 夏季展，皇家藝術學院，倫敦，2023 年

進化：奇點，南柯畫廊，上海，2023年

遞歸，Split畫廊，倫敦，2023 年

藝術家駐地：

斯沃琪和平飯店藝術中心，上海，中國

Xiaochi Dong

Born in 1993, Dong Xiaochi earned a master's degree from the Royal College of Art in the United Kingdom and currently lives and works in both London and Shanghai. Dong's artistic practice is deeply rooted in classical Chinese painting while also exploring the experimental logic of contemporary art. His works exhibit harmonious visual elements that seamlessly blend various aesthetic traditions.

Drawing inspiration from artificial landscapes of different scales, including traditional Chinese gardens, botanical gardens, and miniature ecosystems, Dong explores diverse concepts related to simulating, imitating, and compressing nature. His creative endeavors primarily encompass painting and mixed-media pieces. By creating images saturated with hints of light, humidity and atmosphere, Dong aims to give form to contemporary images of nature.

Education:

2021-2023

MA Painting, Royal College of Arts, London, UK

2015-2018

MA Chinese Painting, Shanghai Academy of Fine Arts, Shanghai, CN

2011-2015

BA Chinese Painting, Shanghai Academy of Fine Arts, Shanghai, CN

Exhibition:

Tender like asphalt, Sherbet Green, London, 2023

Gardening on Borrowed Time, Studio West, London, 2023

Return to Nature, Pearl Art Museum (PAM), Shanghai, 2023

RA Summer Exhibition, Royal Academy of Arts, London, 2023

Evolution: Singularity, Nan Ke Gallery, Shanghai, 2023

Recursion, Split Gallery, London, 2023

Artist Residency:

2020 Swatch Art Peace Hotel, Shanghai, CN

策展人Curator

付若瑄Roxane Fu

付若瑄（Roxane Fu）是南柯畫廊的駐館策展人。她畢業于愛丁堡大學，獲電影，展覽與策展專業碩士學位。畢業后任職于倫敦日本畫廊，負責文獻研究和策展工作。繼而在Royal Academy of Arts工作，同期在進行“鏈的故事”（Tale of the Chain）獨立策展項目。

策展方面，她追求基于作品的熱忱和真實，并努力以完整而清晰的敘事貫穿展覽，幫助藝術家和觀者在輕松安全的環境進行真誠的對話。在策展實踐中，她喜愛以仿佛小說的故事線整合展品，把展覽看作三維的文學，誠實地傳遞和表達藝術家最為真摯的想法。

Roxane Fu currently serves as the Curator-in-Residence at Nan Ke Gallery. She graduated from the University of Edinburgh with an MA in Film, Exhibition, and Curation. After completing her studies, she worked at the Japan Gallery in London, where she was responsible for documentary research and curatorial tasks. Following that experience, she joined the Royal Academy of Arts and contributed to the independent curatorial project 'Tale of the Chain.'

In her curatorial practice, Roxane Fu endeavors to amplify the passion and authenticity inherent in artworks. She is dedicated to constructing a comprehensive and coherent narrative within exhibitions, fostering genuine dialogues between artists and viewers within a relaxed and secure environment. Roxane's approach involves integrating exhibits into a storyline, akin to crafting a novel, transforming exhibitions into three-dimensional literature. Her goal is to faithfully convey and articulate the artist's most sincere ideas.

作品垂詢請郵件至

Please email for inquiries about the artwork.：

info@nankegallery.com

要聞 | 南柯畫廊宣布代理藝術家楊迪（Di Yang）

南柯藝術家｜董孝馳近期機構項目 @上海明珠美術館 PAM @皇家藝術研究院

More information / 更多信息

10:30 - 18:30

Tuesday - Sunday

周二至周日

Tel：021-52727270

info@nankegallery.com

上海市黃浦區長樂路386弄5號

No. 5, Lane 386, Changle Road, Huangpu District, Shanghai