2024, A New Beginning!The Tai Art Center is proud to announce the opening of the residency exhibition,
"Life, You Left Without Me", on January 6. Curated by Shirley Yin, the Artistic Director of the Tai Art Center, the exhibition showcases a series of works created by four artists during their residency at the Art Flow Art District. The exhibition will run until March 3.                

The theme, "Life, You Left Without Me", is inspired by a lament from the poet Henri Michaux (1899–1984), which reveals the unequal relationship between humans and narrative. Individuals often struggle in vain to align themselves with life, as events seldom unfold according to one's expected script. The exhibition invites contemplation on a critical question: How can we honestly confront our desires? Life, with its inherent coherence, is unaffected by human will. This places individuals in the figurative backseat, navigating between passive adaptation and active recalibration to approach their materialized dreams, keeping the wheels of life in motion.

Against this thematic backdrop, the exhibition brings together four artists from diverse backgrounds who reconfigure their personal life narratives during their residency at the Art Flow Art District. Their works reflect detailed observations of daily life, reflections on time and space, and reinterpretations of symbols and emotions.

The theme, "Life, You Left Without Me", naturally encompasses the perspectives of these four artists. Whether through their personal experiences or their creations, the works collectively offer profound insights into the relationship between humans and life.

Artist &Introduction

Chen Xu’s works delve into the essence of found objects, revealing overlooked but essential aspects of everyday life. They explore the multifaceted identities of living spaces and the duality of construction and deconstruction.

陈旭《过好自己的生活就好了》
金刚纱网、不锈钢管
420cm×1.5cm×180cm
2023

Artist’s Note: This piece uses the distortion of window screens, caused by accidental deformation, as a starting point. By controlling the deformation, text emerges on the screen, forming colloquial expressions that subtly reflect social norms. Like the text embedded in the screen, these phrases exist due to subtle forces, appearing and disappearing as the viewer moves.

陈旭《边缘与表面》
木板油画
80cm×80cm×2
2023

陈旭《地下身体》
录像装置 3’30”
2023

Artist’s Note: By manipulating video footage of subway curves, I magnify the slight movements, stretching the visuals and evoking a sense of estrangement from underground spaces.

陈旭《复数后缀》
一次性筷子包装、灯条
尺寸可变
2023

Artist’s Note: This work extracts and replicates images of pandas and bamboo forests from disposable chopstick wrappers, creating a repetitive pattern.

Liu Yi’s works reflect life projections, creating "empty rooms" with fictional occupants. The interactions between these "virtual inhabitants" and viewers form a narrative of disconnection and coherence.

刘易《移动的空间》
2023

刘易《倒马》
树脂，亚克力
30cm×26cm×24cm
2023

刘易《无名物的坠落》
白木、黄铜
13cm×8cm×75cm
2023

Shao Yang’s artistic practice revolves around painting and writing, exploring how popular culture shapes collective imagination and individual relationships. His residency works discuss the dissonance between expectations and reality in a post-pandemic context.  

邵洋《走在冷风中》
风扇
尺寸可变
2023

Artist’s Note: It has been unusually cold in Shanghai this year.

邵洋《被引诱的偶然》
宣纸、丙烯、墨
220cmx200cm
2023

Artist’s Note: If the overflow of information acts as a defense mechanism, is abstraction a form of trauma? Lacking specific times or locations, certainty becomes unattainable, leaving helplessness as our only recourse.

邵洋《芭拉时光》
宣纸、丙烯、墨
50cmx30cmx7
2023

Artist’s Note: During my residency, the park's extensive use of stone materials caught my attention. Inspired by three stone names—"Cinderella," "Ultraman," and "Bara White"—I infused these cold materials with warmth. Cinderella evokes the midnight anticipation of transformation, Ultraman signifies the arrival of light, and Bara White returns to the mundane. Through the interplay of day and night, light and shadow, these stones fill the gaps between expectations and reality.

Zhang Min’s work explores the relationships between seemingly mundane objects in everyday environments. By reshaping these connections, Zhang reveals hidden relationships and creates new possibilities for viewing. The artist seeks to foster a dialogue of equality between humans and non-human elements.

张敏《轻拿轻放》
聚苯乙烯、pvc、树脂
尺寸可变
2023

张敏《see in me（二）》
铁皮柜、染色树脂、灯串
28cm×41cm×69cm
2023

Artist's Note: My initial fascination and fear of “emptiness” likely stem from my personal experiences, which have led to my compulsion to hoard food. I am constantly haunted by a fear of scarcity. However, I have come to realize that this void cannot truly be filled, and this fear of emptiness is not unique to me. It reflects a common emotional state of our time—helplessness in the face of absence, fear of loss, and the dread of losing control.   I began to wonder how to fill this “emptiness.” If there were something to fill it with, I would choose “light.” Light represents a form of self-healing for me, and I hope to share that feeling with others. Light is equal to everyone; as long as you are willing to embrace it, it will always be there. Through the act of filling the “containers” of life, I aim to express this sense of healing and hope.

Photo

开幕现场｜新年伊始「生活，你不带着我就走了」正式开幕！

2024，新年伊始！泰艺术「生活，你不带着我就走了」驻地作品展于1月6日正式开幕；展览由泰艺术中心艺术总监尹希文策展，呈现4位艺术家在艺河湾艺术区驻地期间中创作的系列作品，本次展览将持续至3月3日。

“生活，你不带着我就走了”来源诗人亨利·米修（Henri Michaux 1899-1984）的喟叹揭露了人与叙事的不平等关系，个体总是徒劳地与生活适配，毕竟事件的发展不以主体所期待的脚本上演。展览亦旨在提供一种思考，如何诚实的面对自己的欲望？世界有其内在的自洽性，不以人的意愿转移，这令生活总把人置于行驶的后排座位，在被动的适应与主动的调试之中靠近自己的物化梦想，以便人生车轮持续运转。

在这个语境的渲染中，让我们走进本期的四位艺术家，他们来自差异多元的背景，重置原本的个人“生活”叙事，入驻艺河湾艺术区，他们的驻地创作包含了对生活细节的观察，时间空间的反思，符号与情感的转码。

本次展览主题 “生活，你不带着我就走了”，自发地涵盖了这四位艺术家，无论是其个人抑或是作品，它们共同投射出对人与生命的深刻解读。

艺术家及作品简介

陈旭的作品就试图深入现成物的内部，并且展现这些被忽略的重要因素。也有从生活空间的多重身份与构建/解构两面性出发。

陈旭《过好自己的生活就好了》
金刚纱网、不锈钢管
420cm×1.5cm×180cm
2023

作者语：
作品以生活经验中纱窗的变形为基点，将这一种因意外产生的形变变得可控，使得屏风上出现因变形产生的文字。其连贯起来的语义作为一种当下社会生活中心照不宣的浅话语，就好似其在纱窗上的状态——因某种微作用力而存在于屏障之中，同时随着观者的移步而反复消失与显现。

陈旭《边缘与表面》
木板油画
80cm×80cm×2
2023

陈旭《地下身体》
 录像装置 3’30”
2023

作者语：
作品通过对录像的处理使其产生畸变，地铁拐弯的微弱幅度在这一种处理下放大，图像也因此产生空间的拉伸，这一种拉伸产生一种关于地下空间的陌生想象。

陈旭《复数后缀》
 一次性筷子包装、灯条
尺寸可变
2023

作者语：
将一次性筷子包装上“熊猫与竹林”的图像信息提取出来进行复制，制作成一种重复的纹路。

刘易的作品《移动的房间》对生活做出投射，她的“空房间”的主人是虚设的，在 “虚拟主人”和观众之间所形成的，某种主体失控但自洽的交流。

刘易《移动的空间》
 2023

刘易《倒马》
树脂，亚克力
30cm×26cm×24cm
2023

刘易《无名物的坠落》
白木、黄铜
13cm×8cm×75cm
2023

邵洋的艺术实践以绘画，写作为主，旨在探究流行文化对于大众文化的塑造。同时，在面对历史与记忆的不同尺度的价值判断时，对于共同体的想象及亲密关系的困惑。此次驻地作品是基于疫情之后对于期待和希望的错位与游疑的讨论。

邵洋《走在冷风中》
风扇
尺寸可变
2023

作者语：今年上海特别

邵洋《被引诱的偶然》
 宣纸、丙烯、墨
 220cmx200cm
2023

作品语：
如果说，信息的充斥与炸裂是一种防御，那么，抽象算不算是一种创伤。总是没有具体的时间与给定的地点，我们都无法做确定，无助成为了我们的权利。

邵洋《芭拉时光》
宣纸、丙烯、墨
50cmx30cmx7
2023

作者语：
来到驻地的地点，园区中大量的石材填满了我的视野。作品创作源头取材于三款石材的名称，分别是：灰姑娘，奥特曼，芭拉白。这三个名称，让我对于冰冷的石材有了温度感。灰姑娘对于夜晚12点的期待，奥特曼等待光的降临，芭拉白又回到俗辣的日常之中。在白天和黑夜的更替之中、在光与光的缝隙之中、对于光与魔法的召唤、在期待与等待之中，填满了一堆模糊的白。

张敏的作品关注日常环境中看似习以为常的事物之间的关系，通过空间来揭示潜在事物之间的关系，并将它们重置于新的观看的可能性之中，试图让人与非人之间展开平等的对话。

张敏《轻拿轻放》
聚苯乙烯、pvc、树脂
尺寸可变
2023

张敏《see in me（二）》
铁皮柜、染色树脂、灯串
28cm×41cm×69cm
2023

作者语：
最早是我对「空」的好奇和恐惧，大概是我本身的经历造就了我有食物囤积症，我总是充满对匮乏的恐惧。但我想这种匮乏是不能被填满的，这种恐惧的来源，大概也不是我自己独有的状态。是这个时代普遍存在的一种情绪状态，大家对缺失的无助，对失去的恐惧，失去掌控感……

我在想如何填充「空」，如果可以用一种东西来填充，我希望是过「光」的方式，因为这是对自我的一种疗愈，我也希望带给大家这种感觉。「光」对每个人都平等，只要你想去感受它，它就一直在那里。所以是通过填满生活中的“容器”去表达这种感受。

现场照片