cctv55官网正规渠道 - cctv5-5

Based between Beijing and San Francisco, Rania Ho is one of the key protagonists of the Chinese contemporary art scene, whose practice spans from curation to artistic production, in a multidisciplinary approach that enmeshes performance, technology and object-making in the creation of unexpected and often humorous situations.  同题参见

She is also the co-founder of the seminal independent art space Arrow Factory, based in Beijing’s hutong area since 2008, having spearheaded dozens of exhibitions and projects ever since. 同题参见

With Thy Tran and Bryan Wu, Ho is also a member of the Survival Project collective (www.survivalproject.net) an ongoing multifaceted exploration of food and resilience during extreme times.

 

她通过采用多学科方法，生活工作在北京和旧金山两地，其专业领域从策展到艺术创作，覆盖多个方面，何颖宜是中国当代艺术界的主要参与者之一，将表演、技术和对象制作融入到非凡诙谐的创作当中。因此

另外，她还是艺术空间箭厂空间的联合创始人；箭厂空间建于2008年，位于北京胡同区域。此后负责数十个展览和项目开展工作。

何颖宜与Thy Tran和Bryan Wu同为Survival Project collective（www.survivalproject.net）成员，对极端时期食物和复原力的持续多方面进行研究探索。

 

 

Among many of her endeavours, Rania shared some of her most recent creations where performance, situationism and relational process become involved in the creation of apparatuses of critique, wryly entering the history of spaces and communities and their entanglements with the social and economic history of progress.

Two cunning examples are Genus: Verduous Suburbanus Bucolia & Love Hate Relationship (2017) and Verduodus Suburbanus Bucolia (2018) the latter “a three-part installation inspired by landscaping and garden topiary, featuring a series of stand-alone inflatable suits that awkwardly camouflage wearers among domesticated shrubbery.” 

 

何颖宜与大家分享了部分近期创作，在众多作品中，其中表演、情境主义和关系过程参与批判工具创造，渗透到空间和社区的历史，及其与社会和经济进步史的纠缠当中。

其中两个典型案例包括：Genus：青绿色郊区田园风光与爱恨关系（2017年）和Verduodus Suburbanus Bucolia（2018年），后者“由三个部分组成，灵感来自景观美化和花园修剪，以一系列独立式的充气式套装作为特点。如同灌木林里的伪装者。”

 

 

She explains “New towns and landscaped gardens featured prominently in post-war residential housing development in California as well as in other parts of the nation.

The social and economic climate of the era informed their design and realization. 

With an emerging middle-class, building racial tensions and need for housing, the landscaped gardens embodied unattainable ideals of the indoor-outdoor utopian reverie of single-family living.

Verduodus Suburbanus Bucolia plays with this paradoxical relationship between the built environment and nature; clumsily negotiates the tension between individualism and conformity; and inelegantly manoeuvers between modern austerity and agrarian fantasy”.

A Formation was realized for the 2018 Thailand Biennale and installed along Krabi’s Nopparat Thara Pier. This piece is inspired by her personal family history: 

“In 1960 my uncle, Yu-Hsi Ho, traveled from his home in Hong Kong to Hamburg, Germany with an acceptance letter and a scholarship to a prestigious medical school. 

Upon arrival, he discovered that not only was there no scholarship, but the school did not exist. 

With no resources, no personal network and no experience, he took a job as a salesman in tailor shop to sustain himself.

Many of the customers were US military stationed in Germany and Uncle’s job was to take the soldiers’ measurements and send the information to tailors based in Hong Kong.

He performed this job until German customs officers discovered watches and other “duty-free” items sewn into the shoulder pads of some freight from Hong Kong. 

Unable to cope with the resulting shipment of ravaged menswear, the tailor shop went out of business and Uncle went on to start his studies, becoming a respected anesthesiologist and living the rest of his life in Germany.

Uncle often joked about his stint as a “Hong Kong Tailor,” a multi-layered oral history that sees geo-politics, history and global economics intertwined with a personal story of migration, resilience and survival.”

 

她解释说：“新兴城镇和园景花园在加利福尼亚以及全国其他地区的战后住宅开发中占有突出的重要地位。

这个时代的社会和经济环境为他们的设计和实现提供了信息。

随着中产阶级的兴起、种族关系日益紧张以及住房需求激增，园景花园体现了室内- 室外乌托邦独居生活所无法实现的理想。

Verduodus Suburbanus Bucolia运用建筑环境与自然之间这种矛盾的关系；笨拙地协调个人主义和合规之间的紧张关系；在现代禁欲与农业幻想之间变换“

A Formation 首次出现在2018年泰国双年展上，安装在甲米的Nopparat Thara码头。 这件作品的灵感源自作者的个人家族历史：

“1960年，我的叔叔何玉喜带着录取通知书，拿了一家著名医cctv55官网正规渠道奖学金离开香港前往德国汉堡。

到了以后，他才发现不仅没有奖学金，而且cctv55官网正规渠道也根本不存在。

没有资源、没有关系网也没有经验，他为了养活自己，在一家裁缝店担任销售人员。

许多客户都是驻扎在德国的美国军队，并将信息发送给驻在香港的专业裁缝。与此同时而叔叔的工作是为士兵测量尺寸，

他一直从事这份工作，直到德国海关人员发现香港一些服装垫肩上缝有手表和其他“免税”物品。与此同时

由于无法承担男装破损造成的损失，裁缝店倒闭了，叔叔则开始深造，成为一名受人尊敬的******************师，并在德国度过余生。

叔叔经常开玩笑说自己是一名“香港裁缝”，口述历史中，地缘政治、历史和全球经济与个人的移民、复原力和生存故事交织在一起。

 

All images and excerpts from www.dancingtoasters.com

所有图片和摘录来自www.dancingtoasters.com