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上海独立艺术空间/驻地 Shanghai Independent Art Space/Residency

蒋涵萱 ​Hanxuan Jiang

无题空间第106位驻地艺术家

2023年3月驻地艺术家

蒋涵萱

 

No. 106 UИTITLEDSPΛCE Resident Artist

March Resident Artist, 2023

Hanxuan Jiang

 

 

 关于艺术家 About the Artist 

www.hanxuanjiang.com
 
蒋涵萱，青年影像艺术家，上海美术学院专业教师。她关注个体或微型社群间的情感联结以及在跨文化语境中共同与不同身份、文化实践、民族仪式的融合与边界。她研究对话在社会互动和人际关系中的作用，如亲密朋友之间的互动和合租者之间潜在的依恋。大量的日常谈话涉及到社会学、人类学等领域。她作为参与其中的观察者，体验并深入调查人们的行为、交流与对话，探索产生各种情感的状态和多层级的边界。
Hanxuan Jiang is a time-based artist and an art tutor of Shanghai University Fine Arts College. She focuses on the emotional connections between individuals or micro-communities and boundaries of common and different identities, cultural practices, and ethnic rituals in a cross-cultural context. She investigates the role of conversation in social interactions and interpersonal relationships, such as those between close friends and potential attachments between residents. Everyday conversations cover a wide range of fields including sociology and anthropology. As an engaged observer, she experiences and deeply investigates people’s behaviour and exchanges, exploring the states and multi-layered boundaries that generate various emotions.
 
 过往作品  Previous Works 
将近 Nearly
16’58’’
HD+8mm,  color
影像静帧
2021-2022
 

“近”是一个抽象的概念，用来协商一个符合要求的友谊模式和我可以接触到的最小的社群。我质疑自己：这个社群能有多大的范围？社群是否存在，还是只是一个幻想？从无意识的乱舞到日常对话，我似乎发现了我身处于哪个社群，又被哪个社群排除在外。在这个螺旋式上升的压力下，也许只有找到志同道合的同伴才能抵消内心无尽的焦虑感。
 
Nearly is an abstract concept to negotiate a conformable pattern of friendship and minimal community that I can reach out to. I question myself: how much broader can this community be? I also ask whether this community exists or is only a fantasy. From sleeping together and uninhibited dancing to daily conversations, I seem to find out which community I am in and which community I am excluded from. Under the pressure of this spiralling world, maybe only by finding like-minded companions can we counteract an endless sense of anxiety inside.
 
灯塔 Lighthouse
14’26’’
HD,  color
影像静帧
2020-2021
 

一座灯塔矗立在海岸上，供船只安全航行；当水手们接近海岸时，他们首先看到的是灯塔。灯塔在这里作为一个隐喻，暗指我的三位女性朋友，她们在黑暗的冬日里给我带来了希望。富有成效的友谊使个人从孤立的思想和灵魂中解放出来，在他们之间建立信任。这种信任不仅能建立起他们之间的团结，还能让他们分享深厚的情感，提供精神上的支持。个人情感是极度私人的。很多时候，我们最深层的情感难以完全表达，或者太过敏感而无法与他人分享。然而，这种情感交流存在于亲密的朋友关系中。
 
Lighthouse, addresses loneliness, isolation, and yearning. A lighthouse stands on the coast for ships to navigate safely; when sailors approach the shore, it is the first thing they see. The lighthouse, as a metaphor, is associated with loss and longing, just as a stranger’s undying light gives me warmth in the middle of the night. It is also a reference to my three female friends who bring me to hope on dark, wintery days. Intimacy exists not only between lovers but also among acquaintances, friends, and international students in a community.
 
厨房里的谈话I Conversations in the Kitchen I
影像装置
19’02”
影像静帧
2019
 
我在拉脱维亚做艺术驻地项目期间，被 “厨房谈话”这一前东欧社会主义地区常见的交流环境吸引。我携带摄影机进入厨房，与处于日常生活状态的本地艺术家们探讨了艺术、政治、哲学与拍摄实践等。而我的拍摄本身就是对“厨房谈话”的体验与推动。厨房早已不仅是作为加工食物的空间而存在了，它融合了客厅、餐厅的实际属性，成为了一个放松和闲谈之所。因此，厨房从⽣活空间变成了社会领域，超越了私⼈空间成为公共空间。
The place where I lived in Riga is an old house with the style of the former Soviet Union. I am deeply impressed by this tiny, crowded but humane zone. The kitchen was not a place to make food any longer. It integrated the practical functions of the living room and dining room and became a place for entertainment and chat besides reformation. It also demonstrated that people of the former Soviet Union were freed from busy work and returned to their family life moreover, it became the most basic and the most important daily issue after leaving the identity of workers out for the moment. That is, the joviality gained from cooking. Therefore, it further transformed into a social place.
厨房里的谈话II Conversations in the Kitchen II
影像装置
10’53”
影像静帧
2020-2021
 

这是一个长期研究项目。厨房在一些特定类型的房屋结构中作为中介为跨文化居住者们创造了交流与共处的环境，因此使身处其中的人产生潜在的情感联结。我结合我所体验和遭遇的日常生活作为具体案例来分析。我作为参与其中的观察者，如何观察、体验并深入调查人们在厨房中的行为、交流与对话并产生各种情感联结的状态？ 由于时间的积累，我们之间是否会产生“熟悉”感，并演变成潜在的日常需要和依恋？ 有无可能将个体和其他共同体结合起来，形成为“我们意识”？
I am a participant observer to research how the kitchen with a specific structure as an agency gathers international residents and establishes possible emotional connections between temporary residents. I bring my camera into this space and think about whether the behavior of shooting can adjust and shape the relationship between residents in their daily life, then forming a close community. I would like to define this long-term project as a cross-cultural emotional experiment that takes place in contemporary society. It is mainly based on the methodology of autoethnography and self-image and participatory art to understand myself and others in everyday life.
幻象制造者 Manufacturer of Dreams
8’02’’
8mm,  color+B&W
影像静帧
2019
 

这种追求会被日常生活中的幻象所掩盖，只有面对生活真实的水深火热，才能作为人而栖居和解蔽。影像中，黑海、陌生人的相遇、刺眼的城市景观、闪烁的反光映像以及关于好莱坞造梦的旁白，探索着渺小的个体如何感受真实。这种追求会被日常生活中的幻象所掩盖，只有面对生活真实的水深火热，才能作为人而栖居和解蔽。在这里，个人不再是介入公共，而是被公共话语入侵、凝视，在光彩陆离的玻璃吊灯中，男性旁白的“break, break, break, wake up”要求观者辨识出资本所控制的网络结构和真实的人与生活，并主动打破该系统的规训。

Manufacturer of dreams examine how people pursue faith, truth and values (the known and knowable “holy mountain”). This pursuit can be covered/hidden by the illusion of daily life. Only by facing life directly can we live and reveal ourselves as human beings.