最新动态

簕杜鹃

谭荔洁个展

Bougainvillea

Tan Lijie Solo Exhibition

艺术家 Artist | 谭荔洁 Tan Lijie

策展人 Curator | 李晟曌 Li Shengzhao

展期 Duration | 2022.5.01-06.10

地点 Venue| 香港中文大学（深圳）TC101 空间

TC101 SPACE, The Chinese University of Hong Kong, Shenzhen

前言 | Foreword

一些历史 History

1766年，大航海时代，法国历史上首次环球航行。

随行植物学家Philibert Commerçon在南美洲的里约日内卢发现了一种植物，他以船上的海军上将Louis Antoine de Bougainville的姓氏命名了它，这是簕杜鹃（Bougainvillea）学名的由来。

后来，人们逐渐发现，首次观察和发现这种植物的人，应该是这位植物学家女扮男装的随从，一位几乎淡出历史的人物：名叫Jeanne Baret的女植物学家，也是第一位完成环球航行的女性。

1872年，来自北美洲的苏格兰裔加拿大传教士George Leslie Mackay将这种植物传入了中国。

1979年，中国南方沿海一个名为宝安的县城，正式改名为“深圳”。次年，深圳设置经济特区。再两年后，边防管理线（二线关）被批准设立，一张铁丝网分断了这座新生的城市。

1986年，簕杜鹃被定为深圳市市花。 

她的簕杜鹃，一张1992年的照片

Her bougainvillea, a photo in 1992

作为第⼀批深圳⼆线关特检站⼥兵的⼦⼥,艺术家谭荔洁无意间翻阅到一张家庭老照片：在父母离开家乡，来到深圳后的第一个家里，妈妈身着边检站的绿色制服，手中抱着刚出生的自己，身旁一隅，是一簇盛放的簕杜鹃。这是艺术家口中《簕杜鹃》系列创作的缘起。

这些曾经飘摇在她幼年记忆中的植物，这些沉默不语的观察者，当回忆的风掠过它们的花叶，犹如掠过载满音符的琴弦，往昔慢慢地荡漾开来，新的吟唱也随将开始：

儿童时期的蜡笔，带着艺术家在年少时看过的《城市画报》的旧页上，飞舞着图绘出母亲工作过的二线关边防站和铁丝网，偷渡者的故事，遥远湖南故乡的乡音，生命力旺盛的簕杜鹃和同样热烈而坚韧的人们……故事叠在了故事上，故事从未讲完。

家族中曾有过的“裁缝”技艺印记着她的双手，指引着她用针穿透图像、越过相纸上凝固的时间，将记忆中母亲的身姿与簕杜鹃花的图像连接，也将现实的孔隙安放其中。缝合的是故乡是母亲也是“我”。

她住在的盐田

Yantian where she lived

曾经的盐田，海水咸涩充沛，渔村喧嚷繁忙，一代代的渔民以船为家，像鱼一样飘游在大海，几代人在海上繁衍生息。自伏羲而来的渔网是渔民的生命，织网撒网补网，时光在不断的编织与打捞中行进，历史在一次次的网起网落中被记录亦或遗忘。盐田的渔民说：“以前的网是麻线的，现在的网是胶线网，坏了可以回收，重新熔掉，现在不一定只做渔网了，会做成家具。”网变了、渔村变了、深圳也在变。

80年代的深圳，坚固的是边防铁丝网，是保护也是围困，它像一条裂缝分断出了不同的深圳，不同的经济发展速度。昨日的铁丝网，早已淹没在繁茂的植被与当地人的记忆中。而如今，在这座城市耀眼耸立的大楼外，在高速未能通达的路径旁：那些废品回收站、荒郊的城中村、废弃边检大楼，以及布满清洁工们晾晒被褥的天桥……那些看似并不“现代”的破旧和荒杂，那些阳性城市的阴性面，又是被什么网所依旧困守？

光从遥远的时空诞生而来。从人还是野兽抑或神灵时，从城市还是山川大海时，这些接踵而至的见证者们：从宋代古盐田到今日盐田区，从二线关的铁丝网到CBD摩天高楼的玻璃幕墙网。有多少光踟蹰于人们的双眼，又有多少光在海水中化成了盐。盛放在幽暗清澈水中的相纸中，凝固的盐回忆着光对万物来时的照耀，描绘出昨日的山河、星辰、鸟兽，显影着时空的记忆与交叠。

每一个“我”都是历史中的个体，不同的时空、历史、现实、记忆一层层的交叠在“我”身上，“我”在这无数关系中，内在于这个共同的、辽远古老的海洋；这个过去的、未来的、不断形成中的海洋。簕杜鹃、母亲、深圳、盐田、二线关、边检站、Bougainvillea ......这些在历史的海洋里面浮沉、翻涌、聚散、多义的信息，藉由艺术家与老照片的相会的契机，生发了新的连接和错综，艺术家沉潜和搅动在其中，在无名和未见之处结网捕捞，在变化的涟漪与浪花中，“我”才开始认识我。佩索阿在诗歌里曾写道：“真实存在的只有世界，没有我们，不存在处，才是我们，真理即在其中。”

光，此在 |  Light, Dasein

伊尔福纸基相纸  手工放大

Ilford fibre base paper,hand-enlarged photos

8x10英寸 10张 | 8x10 inches 10 pieces

2022

1766, in the Age of Exploration, France conducted its first voyage around the world.

Philibert Commerçon, an accompanying botanist of the voyage, found a plant in Rio de Janeiro, South America, which he named after the surname of Louis Antoine de Bougainville, an admiral on board, and this is the origin of the scientific name of the Bougainvillea plant.

Later, it became known that the first person to observe and discover this plant was actually the botanist’s female entourage, who disguised herself as a male. She was a figure that had almost faded out of history: Jeanne Baret, a female botanist and the first woman to circumnavigate the globe.

The plant was introduced to China in 1872 by George Leslie Mackay, a Scottish-Canadian missionary from North America.

In 1979, Bao’an, a county on the southern coast of China, was officially renamed as Shenzhen. In the following year, Shenzhen was set as a special economic zone. Two years later, the border control line (the Second-Line) was established, and a barbwire fence cut through this new city.

In 1986, Bougainvillea was designated as the city flower of Shenzhen.

Her bougainvillea, a photo in 1992

As a child of the first batch of soldiers in Shenzhen’s Second-Line Special Inspection Station, the artist Tan Lijie accidentally came across an old family photo: in their first home in Shenzhen, her mother was dressed in the green uniform of the border inspection station, holding the newborn Tan Lijie in arms, standing next to a cluster of blooming bougainvillea. This is the origin to the Bougainvillea series.

These bougainvillea were plants fluttering in the memory of her childhood, these silent observers. As the wind of memory glides over their leaves like a string of musical notes, the past slowly ripples and new singing begins.

The crayons of childhood, accompanied with the old pages of the "City Pictorial" magazine that the artist had read when she was young, wildly painted the pictures of the Second-Line Border Inspection Station with barbwire where her mother had worked. The stories of the stowaways, the remote hometown dialect of Hunan, the vigorous bougainvillea and the enthusiastic and tenacious people …… stories piled on even more stories, and the stories never end.

The "tailoring" skills that were once in the family and had imprinted in her hands,  guided her to use a needle to penetrate the image, pass the solidification of time on the paper, connect the memory of her mother’s posture to the image of bougainvillea, and also place the pores of reality in it. Those being stitched together are home, mother and also “me”.

Yantian where she lived

In the past of Yantian, the sea was salty and full, and the fishing village was noisy and busy. Generations of fishermen took the boats as their homes, floating in the sea like fish, and they lived and bred on the sea. The net invented by Fuxi is the fishermen’s life. They weave, cast and mend the net. Time is flowing constantly during weaving and fishing. History was recorded or forgotten in the net again and again. Yantian fishermen said: “The previous nets were made of hemp, but now the nets are made of plastic. When broken, they can be recycled and melted down again. Now they can not only be made into fishing nets, but also furniture.” The net has changed, the fishing village has changed, and so has Shenzhen.

In the 1980s, Shenzhen was fortified with barbwire at the border. It could be seen as a sort of protection but also as a kind of siege. It was like a crack separating the city and economic development rates into two parts. Yesterday’s barbwire has long been submerged in lush vegetation and local memories. Now, other than the city’s gleaming buildings and inaccessible places along the highways, there are waste recycling stations, villages in the city, abandoned border control buildings and cleaners’ sheets drying on the rails of the overpasses.... What kind of net is trapping these seemingly not modern but shabby and miscellaneous sceneries, and the negative side of this glossy city?

Light was born in ancient time. From the time when human were still beast or god, when cities were mountains and seas. Light, the witness, has watched the ancient salt pan in Song Dynasty turned into Yantian District today and the barbwire of the Second-Line turned into the glass curtain wall of skyscrapers in the CBD. How much light wanders in people’s eyes, and how much light turns into salt in the sea. Stored in the photographic papers in the dark and clear water, the solidified salt recalls the shining of light on everything, depicting the mountains, rivers, stars, birds and beasts in the past, and revealing the memory and overlapping of time and space.

Each “I” is an individual in history. Different layers of time, space, history, reality and memory overlap on “me”. “I” in these countless relations, lies in the common, distant and ancient ocean. The ocean which has been growing in the past, and will keep growing in the future. Ledujuan, mother, Shenzhen, Yantian, Second-Line, border inspection station, Bougainvillea... These polysemous messages, which float, swell, gather and scatter in the sea of history, take the opportunity of the artist’s meeting with the old photos to create new connections and intricacies. The artist dives and stirs in it. She fishes in the unknown and unseen places, and in the changing ripples and waves, “I” begin to know me. Pessoa wrote in his poem(Original Sin), “The only thing there is is the real world; it is not us, just the world; What is not is us, and there the truth lies.”

艺术家简介About the Artist

谭荔洁

Tan Lijie

谭荔洁，1991年⽣于深圳，于2010年至2017年就读于中国美术学院跨媒体艺术学院，获得艺术硕⼠学位；2015年被校推荐赴伦敦⾦⼠顿⼤学艺术与设计学院学习。现⽣活⼯作于深圳。作为视觉艺术家，谭荔洁以其独特的视角将影像的现实和对当下的思考结合，运⽤动物、植物、梦境、符号来⾎⾁模糊地思考事情，通过影像创造⼀段悬置的时刻。她长期关注这个社会⽣活中终年被雾笼罩的地⽅，思考整个⾼速发展的阳性社会中无法割裂的附属。

Tan Lijie was born in Shenzhen in 1991. She studied in the School of Intermedia Art in China Academy of Art from 2010 to 2017 and received her Master of Fine Arts degree in 2017. In 2015, as an exchange student, she went to Kingston University in London to study in its School of Art. Now, she lives and works in Shenzhen. As a visual artist, Lijie combines the reality of the image with the thinking of the present, with her unique perspective. She uses animals, plants, dreams and symbols to think vaguely about things, creating a suspended moment through the image. Moreover, she has long showed concern about the places where social life is enveloped in smog all year round, thinking about the inseparable subordination of the entire fast-developing society.

她所参与的展览包括：

中德实验影像交流展（德国卡塞尔格林兄弟博物馆）、罗中⽴奖学⾦入围展（四川美术学院）、荒废的观察者——“举重若轻”艺术电影展第⼗三季（深圳华侨城创意⽂化园）、教学相长——第三届学院实验艺术⽂献展（北京中央美术学院）、 新中国/新艺术：沪杭两地当代影像展（英国诺丁汉⼤学）、北京第⼗届独⽴电影节、巴黎青年短⽚电影节、奥地利林茨电⼦艺术节等等。她入围了2018年华宇青年艺术奖；31分钟的短⽚《热带地区的奥斯曼》入围德国汉诺威Up and Coming电影节国际竞赛单元，影像作品《世界》曾获⾹港第⼗届⼤学⽣电影节“最佳创意奖（剧情）”，《热带地区的奥斯曼》被澳⼤利亚⽩兔美术馆收藏；摄影作品《未命名的身体》等被浙江摄影出版社出版《浙江新摄影: 无尽的勘探和命名》。

The exhibitions she participated in included:

Sino-German Experimental Video Communication Exhibition at GRIMM WORLD Kassel, Germany, Finalist Exhibition of Luo Zhongli Scholarship at Sichuan Fine Arts Institute, Abandoned Observer - "Lifting a Heavy Weight" Art Film Exhibition Season 13 at OCT Creative Cultural Park, Shenzhen, Teaching and Learning - The 3rd Academy Experimental Art Documentary Exhibition at Central Academy of Fine Arts, Beijing, New China/New Art: Contemporary Video Exhibition of Shanghai and Hangzhou at University of Nottingham, UK, the 10th Beijing Independent Film Festival, Paris Youth Short Film Festival, Linz Electronic Arts Festival, Austria. She was shortlisted for the 2018 Huayu Youth Art Award. Her 31-minute short film Ottoman in the Tropics was shortlisted for the International Competition Unit of the Up and Coming Film Festival in Hannover, Germany. Her video The World got the Best Creativity Award (Drama) in the 10th Hong Kong University Student Film Festival. And the short film Ottoman in the Tropics has been collected by the White Rabbit Gallery in Australia. Her photographic work Untitled body has been published by Zhejiang Photography Press on New Photography in Zhejiang: Endless exploring and naming.

策展人简介About the Curator

李晟曌

Li Shengzhao

独立策展人、写作者，“开放问题研究所”（Open Matter Institute）研究员。

毕业于中国美术学院当代艺术与社会思想研究所（ICAST）。专注于艺术家的深度个案，并致力通过策展实践、理论研究及写作，思考“反建制”的意义，提案艺术-生活的可能性。

Curator, Writer, Researcher of Open Matter Institute.

Li Shengzhao graduated from the Institute of Contemporary Art and Social Thoughts, China Academy of Art (ICAST). She focuses on artists in depth case studies. Through curatorial practice, theoretical research and writing, she is committed to thinking about the significance of "anti-establishment" and proposing art-life possibilities.

TC101 SPACE立足香港中文大学（深圳），致力于推广优秀的艺术家和艺术项目，为师生创造观看、交流、参与当代艺术的场景，是学校通识教育的重要组成部分，也是对外展示校园文化艺术多样化的窗口之一。在展览项目中，运营团队与充满创造性的艺术家不断挖掘空间的潜力，突破空间的外延，打造一个拥有更多可能性和可塑性的校园公共艺术空间。

TC101 SPACE endeavors to promote excellent artists and art projects. Based inside the campus, it provides staff and students with a platform to appreciate, discuss and get engaged in contemporary art. It is an essential part of general education in the University and has become a significant window to introduce the diversity of campus culture and art forms. Through various exhibition projects, the operation team works with creative artists to explore the potential of the space continuously, breaking through the boundary, and creating a public art space on campus with more possibilities and flexibility.

大学艺术中心TC101 SPACE展览项目