TC101 SPACE | 展讯：簕杜鹃——谭荔洁个展
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
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。
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。
Her bougainvillea, a photo in 1992
Yantian where she lived
光，此在 | Light, Dasein
Ilford fibre base paper,hand-enlarged photos
8x10英寸 10张 | 8x10 inches 10 pieces
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
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.
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
独立策展人、写作者，“开放问题研究所”（Open Matter Institute）研究员。
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 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.