The Lathery Enfold
2019/06/13 - 2019/06/19
Liste Art Fair Basel, Switzerland


Gallery Vacancy is pleased to announce artist Ni Hao’s solo project The Lathery Enfold at Liste Art Fair Basel, on view from June 13–19, 2022. Continuing Ni’s investigation of systemic mechanisms that regulate the societal bodies, The Lathery Enfold elicits a profound intimacy that existed in these prescribed rules of being, specifically revealing in the devices of the gridded system and language. Throughout his engagement with mass-produced materials commonly found in the domestic setting including IKEA racks, humidifiers, and graphic t-shirts, the artist seeks to allegorize the tension between human beings and the environment, illuminating the latent violence exerted by individualism, consumerism, and anthropocentrism via a series of wall-mounted and freestanding sculpture works.

Resulting from an inward examination of the home, the Grid series identifies an intimate yet vulnerable relationship between the body and the bathroom space, meanwhile scrutinizing bodily rituals popularized under capitalist consumerism. Epitomized in sculptural forms, the series merges the handmade scented soap with mass-produced IKEA racks, colliding an amorphous organic substance with a standardized industrial object. As a quintessential household item, the soap in Ni’s work serves not only as a metaphorical extension of the living entity but also a device of affirmation of the body’s livelihood. The portrayed state of soap, compressed, molded, and shaped by an external structure, alludes to numerous oblivious structures and systems imposed by human beings to regulate the body, catering to the capitalist agenda of efficiency and productivity. Scrubbed, scraped, and dissolved, the soap and the body hold a curious relationship in which each scrupulous interaction purported by hygiene seems to be at the cost of our living environment. Against the backdrop of a global pandemic, the habituating act of handwashing prompts an urgent reflection on the socialization of personal hygiene since modernity; the exhaustive effort committed to cleansing inevitably underwrites a detrimental compromise for the maintenance of the clean and proper body. Underneath the pristine outlook of the sculpture, the artist oftentimes conceals a layer of self-inflicting violence that is perpetual and pervasive in our daily lives.

The sensibility of the bathroom space and the organic body is further captured through the ephemeral steam portrayed in Halitus X 5000 (2022) and Spiritus X 4000 (2022). In these works, Ni transforms the conveyor belt system into a water calligraphy machine: the built-in humidifier diffuses steam to enable images to develop on the looping gridded practice paper. While again a formless organic body is regulated by a modular structure, the works nonetheless address the Sinophone experience of perennial calligraphy practice. The ritualistic calligraphy practice and the omnipresent smart home appliances in the contemporary households are both evidence of an internalized embracement of an idealized middle-class lifestyle, whereas regulation, order, and control manifested through these objects and activities contain a permanent stature that Ni deliberately sets off against the temporally revealed Futuristic drawings on the looping grids. The cyclical process of water calligraphy obliterates an exit or result, accentuating the transient body entrapped in this preordained mediating form.

The temporal yet invisible body is foregrounded in the group of freestanding works scattering around the central space of the booth. In these sculptures, the artist employs locally sourced mass-produced graphic t-shirts from Hsinchu as the primary material. The misspelled lettering on the t-shirts provokes a particular sensation in the viewer: while one experiences the transposed letter effect reading the printed text, one quickly comes to realize that any attempt to interpret the meaning is futile. Indebted to globalization, the cheaply manufactured clothing manipulates internet-found designs by partially copying and pasting to avoid copyright infringement, which simultaneously echoes the Engrish phenomenon widely seen in Asian countries. Coincidentally, the free-flowing nonsensical texts over the wearing bodies forge a mischievous link to Dadaism with the incorrect and ungrammatical combination of words. The hollowing shells that create silhouettes to indicate absent human beings and animals serve purposefully as a means to enunciate the invisible forces, which communicate with and activate the static Grid series enveloping the central space. Drawing on a similar metaphor, the sculptures animate the form-fitting bounds and limits imposed on the organic body.

The Lathery Enfold probes into the oblivious systems underlying our everyday engagement from an Asian perspective, borrowing the aesthetics and virtues of modernity. The series of works slice through a myriad of complex and intriguing aspects across materiality, form, and aesthetics to unveil the intricacy of violence disguised under an appearance of neat, tidy, and benevolent. Bearing these paradoxical states in mind, the artist consciously puts his works in dialogue with the formalist constraints developed throughout modern art history, whereas titillating and repurposing the standardized tools with a hint of irony. In Ni’s poetic endeavors, his artworks meticulously sift through the mundane details of living, strip it down to the essential systems, and accurately pinpoint the danger in beauty and norm.



泡沫之擁
2019/06/13 - 2019/06/19
Liste Art Fair Basel, Switzerland


Gallery Vacancy 榮幸地宣布於 Liste Art Fair Basel 展出藝術家倪灝的個人項目“ 泡沫之擁 ”,展期 為 2022 年 6 月 13 日至 19 日 。“泡沫之擁 ” 延續了倪灝對身體與社會系統性規訓機制的探究,以網格系統和語言為起點,引出一種存在於 規則與被規範主體之間深刻的親密關系。通過家中常見大批 量生產的材料進行運用,如宜家擱架、加濕器和印花T恤等,藝術家試圖對人類與其生存環境之間的張力進行解析,並以 一系列的架上和獨立雕塑作品來呈現全球化、消費主義和人類中心主義中所暗藏的暴力。

《格》系列源於藝術家對現代化居住空間的反思,在身體與 浴室之間親密又脆弱的關系當中,來審視資本主義通過消費為手段而推崇關乎身體的儀式性行為。《格》系列以雕塑的形式呈現,將手工制作的香味肥皂與大規模生產的宜家瀝水 架結合為一體,令一種沒有固定形態的有機物跟標準化的工 業物品產生碰撞。作為重要的居家物件,肥皂在倪灝的作品 中不僅作為有機生命體的比喻,且更延伸被視為確認生存活 動的證據 。被擠壓、形塑、倒模後 ,肥皂的物理狀態被外部的網格結構所決定,暗指了一系列對身體進行規訓的無形系統和結構,工具化身體以迎合資本主義對高產、高效的要求。 在搓洗、揉擦和溶解的過程中,肥皂和身體此消彼長的互動 也指向了現代個人衛生的維護常以自然環境為代價。在全球疫情的背景之下,洗手這一習慣性動作促使人們對進入現代社會以來,以 個人衛生為美德進行即刻的反思: 為了維持社會認可的身體而去反覆不斷進行清潔無可避免地會對身體 造成有害的影響。在雕塑簡潔光凈的外表下,藝術家試圖揭 露出一層充斥在我們日常生活中沈潛的制約。

在《呼哈 X 5000》(2022) 和《呼呵 X 4000》(2022) 中,浴室空間和有機生命體的意象以轉瞬即逝的蒸汽來傳 達。在這個系列作品中,倪灝將傳送帶系統改造成一台水寫書法機器: 內置的加濕器向傳送帶上不停轉動的水寫書法布呵出蒸汽,使書法練習格中的圖像得以顯現。藝術家不僅再 次捕捉了無形有機物與標準化結構的互動關系,而且指向了華語世界中經年累月的書法練習傳統。儀式化的書法練習和 填充著當代居住空間的智能家電共同映射了當代人對理想中 產生活方式的一種內化的擁護,而這些物件和行為所同時暗 含的規訓、秩序和控制往往具有一重永久性,藝術家刻意將 書法水寫布上短暫停留的未來主義風格繪畫與之形成對比。 水寫書法傳送帶的往覆循環抹除了出口與終點,以隱喻受預 設形式桎梏下有限的身體。

這種現世卻又無形的身體在錯落分布於展廳中央的一系列 雕塑作品中被進一步呈現。在這些雕塑中,藝術家采用新竹 本地大批量生產的印花 T 恤為原始材料。T 恤上拼錯的字母單詞給予觀者一種特殊的體驗:盡管通過倒置字母效應能分辨出單詞,但任何試圖去理解這些錯置語句的嘗試都是徒勞與枉效的。受全球化影響,廉價服裝制造業對網絡上現 成的印花設計進行局部的覆制和粘貼以規避版權侵犯,由此誕生的拼貼式字母設計大量呼應了東亞文化圈普遍存在 的“Engrish”現象 (既非英語母語者使用的錯誤英語文法)。

巧合的是,這些毫無意義的文本通過被身體穿戴的形式廣 泛流動於我們的日常生活當中,其不正確、不符合語法的組 合方式與達達主義產生了微妙的聯系。這些暗示不在場的人 或動物的鏤空硬殼彰示了一種無形的力量,在進行對話的同時激活了包裹整個展廳的靜態的《 格 》系列作品 。借用與網格系統相似的比喻,這些雕塑具象化了形塑有機生命體的界 線和限制。

借用了現代性的美學和美德,“ 泡沫之擁 ” 通過亞洲視角探究潛藏在我們日常行為中的那些不易被覺察到的系統機制。 該系列所呈現的作品通過剖析物質性,形式和美學中所涵蓋 的大量覆雜且有趣的面向,揭示了隱匿於整潔、整齊和有益 性表象下覆雜的暴力性。考慮到這些自相矛盾的狀態,藝術 家有意識地將他的作品與貫穿整個現代藝術史且不斷發展 的形式主義限制並置,以諷刺的暗示為驅力,挑動和再利用 這些標準化的工具。在倪灝詩意的探究中,他的作品細致地篩選日常生活中的平凡細節 ,暴 露 其 中最本質的系統,精準指出美好事物和日常規範中難以察覺卻無處不在的危機與壓迫。

















work list: 


machines:

1.
Spiritus X 4000
2022
216 x 44 x 55 cm (85 x 17 3/8 x 21 5/8 in)
IKEA ELVARLI wardrobe combination, 3D printed humidifier, water repellent and sealant, water calligraphy practice paper, aluminum frame, motor, plexiglass, electrical components, towels, and other mixed media

呼呵 X 4000
2022
216 x 44 x 55 cm (85 x 17 3/8 x 21 5/8in)
宜家ELVARLI衣櫃組合,3D打印加濕器,防水密封劑,書法水寫布, 鋁框,馬達,有機玻璃,電子元件,毛巾,以及混合媒材


2.
Halitus X 5000
2022
163 x 46 x 42 cm (64 1/8 x 18 1/8 x 16 1/2 in)
IKEA IDÅSEN drawer unit on castors, 3D printed humidifier, water repellent and sealant on water calligraphy practice paper, aluminum frame, motor, plexiglass, electrical components, resin, cotton, and other mixed media

呼哈 X 5000
2022
163 x 46 x 42 cm (64 1/8 x 18 1/8 x 16 1/2 in)
宜家IDÅSEN抽屜櫃帶腳輪,3D打印加濕器,防水密封劑,書法水寫布,鋁框,馬達,有機玻璃,電子元件,樹脂,棉,以及混合媒材



grids: 

1.
Grid X
2022
42 x 29.5 x 11.5 cm (16 1/2 x 11 5/8 x 4 1/2 in)
IKEA HULTARP dish drainer, microwaved lanolin melt and pour soap, Les Parfums De Farcent (sea salt and wood sage)

格 X
2022
42 x 29.5 x 11.5 cm (16 1/2 x 11 5/8 x 4 1/2 in)
宜家HULTARP餐具濾乾架,微波後的綿羊油皂基,Farcent香氛(海鹽和鼠尾草)

2.
Grid XI
2022
60 x 50 x 4 cm (23 5/8 x 19 3/4 x 1 5/8 in)
IKEA KUNGSFORS dish drainer, silk protein melt and pour soap base, Baby Bear Fabric Fragrance Spray (forest waterfall)

格 XI
2022
60 x 50 x 4 cm (23 5/8 x 19 3/4 x 1 5/8 in)
宜家KUNGSFORS餐具濾乾架,蠶絲蛋白皂基,熊寶貝織物清新噴霧劑(森林瀑布)

3.
Grid XII (apoptosis)
2022
75 x 29.5 x 9 cm (29 1/2 x 11 5/8 x 3 1/2 in)
IKEA HULTARP dish drainer, microwaved lanolin melt and pour soap, Snuggle reed diffuser (star glamour)

格 XII(細胞凋亡)
2022
75 x 29.5 x 9 cm (29 1/2 x 11 5/8 x 3 1/2 in)
宜家HULTARP餐具濾乾架,微波後的綿羊油皂基,Snuggle擴香條(明星魅力)

4.
Grid XIII (dew)
2022
74 x 35 x 15 cm (29 1/8 x 13 3/4 x 5 7/8 in)
IKEA HJÄLPA wire basket, microwaved olive oil and low sweat transparent soap base, Aromania scented oil (tequila sunrise)

格 XIII(露水)
2022
74 x 35 x 15 cm (29 1/8 x 13 3/4 x 5 7/8 in)
宜家HJÄLPA網籃,微波後的低吸濕橄欖油透明皂基,Aromania精油(龍舌蘭日出)

5.
Grid XIV
2022
each: 91.5 x 35.5 x 10.5 cm (36 x 14 x 4 1/8 in)
IKEA OMAR shelving unit, microwaved citronella melt and pour soap base Triptych

格 XIV
2022
每件 91.5 x 35.5 x 10.5 cm (36 x 14 x 4 1/8 in)
三聯屏, 宜家OMAR擱架,微波後的香茅皂基

6.
Grid XV (crypsis)
2022
42 x 52 x 49.5 cm (16 1/2 x 20 1/2 x 19 1/2 in)
IKEA JONAXEL wire basket and frame, microwaved glutamic acid soap base, Snuggle reed diffuser (cedarwood)

格 XV(保護色)
2022
42 x 52 x 49.5 cm (16 1/2 x 20 1/2 x 19 1/2 in)
宜家JONAXEL儲物組合,微波後的谷氨酸皂基,Snuggle 擴香條(雪松木)

7.
Grid XVI (inflammation)
2022
30 x 10 x 5.5 cm (11 3/4 x 4 x 2 1/8 in)
Muji stainless steel bottle rack, Sapindus melt and Amino acid melt and pour soap base, Monascus purpureus powder

格 XVI(炎症)
2022
30 x 10 x 5.5 cm (11 3/4 x 4 x 2 1/8 in)
無印良品不銹鋼瓶架,無患子氨基酸皂基,紅曲霉粉末



ghosts: 

1.
SAMFNXOY 
2022
15 x 52 x 50 cm (5 7/8 x 20 1/2 x 19 3/4 in)
Cotton, resin

SAMFNXOY
2021
15 x 52 x 50 cm (5 7/8 x 20 1/2 x 19 3/4 in)
棉,樹脂

2.
SOPT
2022
35 x 65 x 55 cm (13 3/4 x 25 5/8 x 21 5/8 in)
Cotton, resin, wood, vinyl

SOPT
2022
35 x 65 x 55 cm (13 3/4 x 25 5/8 x 21 5/8 in)
棉,樹脂,木材,乙烯基塑料

3.
Break rules
2022
60 x 75 x 6 cm (23 5/8 x 29 1/2 x 2 3/8 in)
Cotton, resin

Break rules
2022
60 x 75 x 6 cm (23 5/8 x 29 1/2 x 2 3/8 in)
棉,樹脂

4.
Dont stop i have a passion
2022
43 x 50 x 45 cm (16 7/8 x 19 3/4 x 17 3/4 in)
Cotton, resin

Dont stop i have a passion
2022
43 x 50 x 45 cm (16 7/8 x 19 3/4 x 17 3/4 in)
棉,樹脂

5.
LIFE IS NOT BREATH LIFE IS ACTIVITY
2022
76 x 23 x 23 cm (29 7/8 x 9 x 9 in)
Cotton, resin, wood

LIFE IS NOT BREATH LIFE IS ACTIVITY
2022
76 x 23 x 23 cm (29 7/8 x 9 x 9 in)
棉,樹脂,木材

6.
LFIE: OIRIGALNS OFOFEE
2022
58 x 35 x 15 cm (22 7/8 x 13 3/4 x 5 7/8 in)
Cotton, resin, wood

LFIE: OIRIGALNS OFOFEE
2022
58 x 35 x 15 cm (22 7/8 x 13 3/4 x 5 7/8 in)
棉,樹脂,木材