The interweaving of diverse lines and the direct collision of colours bring about various morphological transformations. The exhibition “BODilY” uses the body as a medium to explore its complexity and diversity through multiple artistic expressions. The body here is a concrete representation of the individual and an abstract symbol of society, culture, and history, becoming a bridge connecting the individual with the external world.
由不同線條的交錯，色彩直接的碰撞，帶來各式各樣的形態變幻。展覽「BODilY」以身體為媒介，通過多樣的藝術表達探索身體的複雜性和多樣性。身體在這裡是個體的具象，更是社會、文化和歷史的抽象符號，也是連接個體與外界的橋梁。
The BODilY exhibition was held from April 24 to May 31, 2024, at the Silian Gallery in London, curated by Marjorier Ding and co-curated by Linlin Zhu. The exhibition brings together works from six artists, showcasing artworks that not only reveal the physical manifestation of the body and delve deeper into its metaphysical implications. Through unique perspectives and forms, the artists unveil the multifaceted roles and meanings of the body across various cultural contexts, prompting profound reflections on body politics and social norms among viewers. This critical exploration broadens the audience’s understanding of the body and encourages them to reconsider its role and status in modern society.
BODilY展覽於2024年4月24日至5月31日在倫敦的Silian畫廊舉行，由Marjorier Ding策展， Linlin Zhu協助策展。展覽匯集了6位藝術家的作品，展覽中的藝術作品不僅揭示了身體作為物理存在的表象，更深層次地探討了其形而上學的內涵。藝術家們以獨特的視⻆和形式，揭示了身體在不同文化背景語境下的⻆色和意義，以引發觀眾對身體政治和社會規範的思考。這種批判性的探討拓展了觀眾對身體的理解，也促使人們反思身體在現代社會中的⻆色和地位。
The Body as Ontology 身體作為本體
Metaphysics, a branch of philosophy, investigates the fundamental nature of existence and reality. In the BODilY exhibition, the body is perceived not merely as a physical entity, but as a symbol of spiritual and philosophical significance. Through diverse media and forms, artists express the body as a vessel for individual identity and social relationships. It emonstrates physical existence and also reflects individual psychological and emotional states. This metaphysical exploration prompts viewers to contemplate the relationships between body and self, as well as body and society.
形而上學是哲學的一個分支，研究存在和現實的本質。在BODilY展覽中，身體被視為不僅僅是一個物理實體，是一種精神和哲學的象徵。藝術家們通過不同的媒介和形式，表達了身體作為個體身份和社會關係的承載體。作品中的身體形象不僅展示了肉體的存在，還反映了個人的心理和情感的狀態。這種形而上學的探討引發了觀眾對身體與自我、身體與社會之間關係的思考。在Francesca Hummler的作品中，用身體作為畫布來探索身份、記憶和世代創傷等主題。她的實踐包括將圖像轉移到她的皮膚上，這一過程象徵著身體形態與個人歷史之間的深層聯繫。這種在身體上刻畫和移除圖像的行為隱喻著不斷重寫和丟棄記憶，反映了過去的創傷和家庭關係如何塑造一個人的身份。
Virgin on the rocks still by Francesca Hummler
The Multiple Meanings of the Body 身體的多重意義
The exhibition explores the multiple meanings of the body through various artistic forms. The body is not only a biological entity and it carries cultural, social, and historical significance. The artworks in the exhibition showcase the diversity of the body in different cultural and social contexts, as well as the complex ways individuals interact with the external world through their bodies. “Body”, as an extension, connects the individual with the external world and reflects society’s various interpretations and expectations of the body.
For instance, Olivia Foster’s works use neoclassical imagery to outline the body’s lines, capturing the state of muscles in motion at a moment, and questioning whether we are individuals or a part of another’s body. Her works, such as “William” and “Maelstrom,” capture the transience and cycles of life, showcasing a balance of will, independence, and influence. Jiachen Zeng’s “Mermer” series explores self-awareness and collective identity through genderless figures in black-and-white contrast. Her works simplify the body to a black-and-white shell, paradoxically enhancing our contemplation of the body itself. Her works “Strange One” and “Stage” depict gender-ambiguous characters in various scenarios and emotional states, reflecting the transitory nature of everyday life.
These works, through the collection of figures, imply that individual voices may be obscured within group dynamics. In this process, the body is not only a tool for individual expression of emotions and thoughts but also an object of social norms and control. The artworks in the exhibition reveal the multiple roles and meanings of the body in different cultural contexts through various media and forms. Whether through painting, sculpture, or film, the artists explore multiple facets of the body, demonstrating the complexity of the body’s interaction with society.
展覽通過各種藝術形式，探討了身體的意義。身體不僅是一個生物學上的實體，還承載著文化、社會和歷史的意義。展覽中的作品展示了身體在不同文化和社會背景下的多樣性，以及個體通過身體與外界互動方式的複雜性。身體作為一種延伸，不僅連接了個體與外界，還反映了社會對身體的不同解讀和期待。
就像Olivia Foster的作品，通過新古典主義的形象、身體的線條勾勒，把運動中的肌肉狀態定格在一瞬間，此時我們作為了個體亦或是成為了他者身體的一個部分。她的作品如《William》和《Maelstrom》捕捉到生命的短暫與循環，展現了意志、獨立和影響力的平衡。Jiachen Zeng的「Mermer」系列通過黑白對比的無性別人物，探討了自我意識和集體身份，但不一樣的是在她的作品中身體已被簡化，只剩下一個個黑白面的軀殼，這種通過弱化身體的行為卻又提高了我們對身體本身的思考。她的作品《Strange One》和《Stage》展現了性別模糊的⻆色在不同情景和情感狀態下的存在，反映了日常生活轉瞬即逝的暫時性。這些作品通過人物的集合，暗示了個體聲音在群體動態中可能被遮蔽 。
在這個過程中，身體不僅是個體表達情感和思想的工具，也是社會規範和控制的對象。她們的作品揭示了身體在不同文化背景下的⻆色和意義。無論是通過繪畫、雕塑還是影像，藝術家們都在探討身體的多重面向，展示了身體作為個體與社會互動的複雜性。
The Body as a Vehicle for Self-Expression and Social Control 身體作為自我表達與社會控制的載體
Many works in the exhibition, by exploring bodily self-expression and social control, reveal how individuals use their bodies to resist or conform to social norms. Some works depict the body as a symbol of power and control, revealing the helpless and struggling individuals when confronted with societal pressures. Other works demonstrate how individuals express themselves through their bodies by confronting social constraints and limitations.
當我們在探討身體的自我表達與社會控制的時候，BODilY中的作品則是從個體如何通過身體來反抗或順從社會規範作為出發點。有的作品是通過展示身體作為權力和控制的象徵，揭示了個體在面對社會壓力時的無奈與掙扎; 也有的作品則展示了個體通過身體來表達自我，直接反抗社會的束縛與限制。Abdollah Nafisi的作品正是如此，他的作品是充滿欺騙性的，我們必須以更立體的視⻆去審視。在展覽現場的即興表演當中，他的行為作品探討了自然與人類生態系統的連接，反映了現實中的矛盾:人類創造力與技術進步的對立，以及回歸自然的必要。
For instance, Abdollah Nafisi’s works exemplify this, being three-dimensional and deceptive, requiring us to examine them from a more multifaceted perspective. The improvisational performances at the exhibition venue explore the connectivity between nature and human ecosystems, reflecting the contradictions in modernity: the opposition between human creativity and technological progress, and the necessity of returning to nature.
This multifaceted interpretation of the body elevates the exhibition beyond the visual realm, delving deeper into the complex relationship between individuals and society. Through these works, viewers can better understand the diversity of the body in different cultural and social contexts, as well as how individuals cope with societal pressures.
Wenyi Qian’s works, employing traditional Chinese painting symbols, delve into the relationship between painting and the female body. Her works transcend mere symbolism, stimulating viewers’ imagination and reflection, becoming powerful tools to guide audiences in exploring deeper meanings and expressions. Qian’s works “Daydreamer” and “Morphling” demonstrate her unique use of symbols, transcending mere visual expression and leading viewers into a space filled with imagination and contemplation.
這種對身體的解讀，使得展覽不僅僅停留在視覺層面，更深入探討了個體與社會之間的複雜關係。通過這些作品使觀眾理解身體在不同文化和社會背景下的多樣性，以及思考個體在面對社會壓力時的應對方式。Wenyi Qian的作品通過運用中國傳統繪畫符號，探討了繪畫與女性身體之間的關係。她的作品不僅限於象徵意義，更激發了觀眾的想象力和思考，成為引導觀眾深入探索意義和表達的有力工具。Qian的作品《Daydreamer》和《Morphling》展示了她對這些符號的獨特運用，超越了單純的畫面表達，帶領觀眾進入一個充滿想象和沈思的空間。
The Politics of the Body 身體的政治
BODilY not only showcases the physical existence of the body but also reveals its multiple meanings within social and cultural contexts. Through metaphysical exploration, the exhibition challenges traditional perceptions of the body, provoking profound reflections on body politics. The exhibited works demonstrate how the body is regulated and controlled by social norms, and how individuals express themselves and resist social constraints through their bodies.
Matvei Matveev’s creative process focuses on capturing the essence of the unknown, creating harmonious sensory experiences through the combination of natural and synthetic materials. He achieves a balance between structure and spontaneity in his works, and by entrusting the artistic process to the materials themselves, his pieces “Returning Home” and “I got drunk, asleep. And wept on the dream. A wild cherry blossoms” demonstrate the influence of environment on creation.
The artistic approach eliminates direct intervention by the artist, allowing the environment to play a crucial role in the work, which is a way of discussing the connection between self- expression and the external environment. Critical perspectives elevate the exhibition beyond the visual realm, delving deeper into the complex relationship between individuals and society. Through these works, viewers cancomprehend the diversity of the body in different cultural and social contexts, as well as how individuals cope with societal pressures.
BODilY不僅展示了身體的物理存在，更揭示了其在社會和文化背景下的意義。通過形而上學的探討，挑戰了觀眾對身體的傳統認知，引發人們對身體政治的思考。展覽中的作品探討了身體如何被社會規範和控制，以及個體如何通過身體表達自我和反抗社會束縛。Matvei Matveev的創作過程注重捕捉未知的本質，通過自然和合成材料的結合，創造出和諧的感官體驗。他在作品中實現了結構與自發性的平衡，通過將藝術創作過程交由材料本身，他的作品《Returning Home》和《I got drunk, asleep. And wept on the dream. A wild cherry blossoms》表達了環境對創作的影響。這種方法弱化了了藝術家的直接干預，讓環境在作品中發揮重要作用，這是一種討論自我表達與外部環境聯繫的一種方法。
批評性視⻆使得展覽不僅僅停留在視覺層面，更深入描繪了個體與社會之間的複雜關係。通過BODilY的作品，觀眾能夠參考幾位藝術家的視⻆去理解身體在不同文化和社會背景下的多樣性，思考個體在面對社會壓力時的應對方式。
Exhibition opening scene
The BODilY exhibition, through exploring the multiple meanings and metaphysics of the body, guides the audience to contemplate the complex roles and status of the body in contemporary society. The exhibition is not only a visual feast but also a profound dialogue about the body, identity, and social relationships. Through critical thinking, viewers can better understand the body as a bridge connecting the individual with the external world and their multiple meanings in society. The exhibition reveals that the body is not only a physical existence of the individual but also a product of society and culture, showcasing the complex relationships of the body as an extension and embodiment.
BODilY展覽通過對身體的意義和形而上學的探討，潛移默化地引導觀眾思考身體在當代社會中的複雜⻆色和地位。BODilY展覽不僅是一場視覺盛宴，更是一場關於身體、身份和社會關係的深刻對話。藝術家們通過批判性思考，讓身體作為自主與外界交流的橋梁發覺其在社會中的意義，揭示了身體不僅是個體的物理存在，更是社會和文化的產物，展示了身體同時作為延伸和體現的複雜關係。
Morphling (2024) by Wenyi Qian, Oil on canvas 90 x 122cm
More about：
Tiderip, an experimental independent curatorial collective, is currently composed of Marjorier Ding and Linlin Zhu. This curatorial team is dedicated to cross-disciplinary curation and innovation,exploring a new model for the future of exhibition. Every crest of the wave represents one of our gatherings and convergences, and within the undercurrents, there lies our potential, movement, and diversity.
Marjorier Ding (b. 1998) is a contemporary Chinese art curator and advisor who works and lives inLondon. In 2021, she founded the curatorial group Tiderip, and has organised multiple exhibitions and art fairs across London and China. In 2022, she graduated with a master’s degree in Contemporary Art Curation from the Royal College of Art in the UK. With her interdisciplinary background in media, marketing, and production, as well as international work experience in commercial galleries and non-profit art institutions, her practice mainly focuses on experimental curation and the exploration of the future of exhibitions.
Linlin Zhu (b. 1998, China) is a Chinese moving image curator and filmmaker, currently residing and working in both London and Beijing. With six years of experience in the film/television industry, her productions have graced the screens of over 10 prominent broadcasting and streaming platforms, including Paramount, CCTV, Tencent, Youku, and Bilibili. In 2022, she joined Tiderip as a moving image curator, actively promoting the advancement of experimental video projects, committed to cross-professional, cross-disciplinary, and cross-industry collaboration, to facilitate the various possibilities of exhibitions.
Tiderip實驗獨立策展小組，目前由丁琪和朱琳琳兩人組成。該策展小組致力於跨界與創新，探索一種新型策展未來模式。每一次浪潮激起的最高點，即是我們的一次集合與匯聚， 暗湧中也蘊藏著我們的蓄力、流動與多元。
丁琪 (b.1998) 是一位中國當代藝術策展人和藝術顧問，目前工作生活於倫敦。 2021年，她創立了策展團體Tiderip, 在倫敦和中國舉辦了多場展覽和藝術市集。 2022年，碩士畢業英國皇家藝術學院當代藝術策展專業。憑藉她在媒體、市場和製作方面的多學科背景，以及在商業畫廊和非營利藝術機構的國際工作經驗，她的實踐主要聚焦於實驗性策展和展覽的未來的探討。
朱琳琳 (b.1998) 是一位紀錄片製片人和影像策展人，碩士畢業於倫敦大學學院紀錄片專業，她目前居住並工作於倫敦和北京。在電影/電視產業擁有6年經驗，參與製作的作品曾登上包括派拉蒙、央視、騰訊、優酷和嗶哩嗶哩在內的10多個知名廣播和流媒體平台。 2022年，加入Tiderip, 並擔任影像策展人一職，積極促進實驗影像計畫的推廣，致力於跨專業、 跨學科、跨行業合作，促進展覽的多種可能。
Louason (b. 1995) is a curator and architectural designer, currently pursuing studies in Culture, Criticism, and Curation at Central Saint Martins.Concurrently, he is one of the principal curators of the independent curatorial group ‘Callinglab’ and manages the Project Z art space.
Louason(b.1995) 是一位策展人和建築設計師，目前就讀於聖馬丁藝術學院文化，批判與策展專業。同時也是獨立策展團體Callinglab主理人之一，經營Project Z藝術空間。
Text 撰文 by x Louason
