HKVB2019 Catalogue Preview

When one is faced with contrasting thoughts, one should focus on the relation or dynamic of contrasting terms, rather than the terms themselves.

當一個人面對互相矛盾的念頭時，應該專注於對立條件的關係或走向，而 還有作品發展需否有脈絡可尋的爭議，以及何為首尾一貫的作品群…… 不是條件本身。

And as the class developed I realised I was also really interested in the question of lived experience versus language, 3

隨着課堂的發展，我意識到自己在這個後指定媒材時代對存在體驗和語言的 問題很感興趣，

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and also issues of coherence, and what it means to have a consistent body of work... in this sort of post-medium-specific era.

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還有作品發展需否有脈絡可尋的爭議，以及何為首尾一貫的作品群……

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In the past, I have used synthetic polymer (plastic) to address the concept of multiplicities and competing ideologies.

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我在過去曾運用合成聚合物（塑膠）體現多元性和對抗式思想形態的概念。

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More recently, this ‘plasticity’ is turned towards exploring sculptural processes as models of multidimensional thinking and negotiation.

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最近，這種「可塑性」有了改變，更趨向探討作為多元思考和協商模型的塑 造過程。

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Sculpture-making demands the ability to merge the abstract, the literal, and the practical.

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雕塑創作需要結合抽象、真實和實際性，

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A sculptor has to negotiate constantly between her concepts, 13

雕塑家要不斷在其概念、

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their practicality as real-world existence (physics), and their relationship to the rest of the world (architectural, semantic, and ethical, et cetera).

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現實世界的使用性質（物理）和它們與外界（建築、語義和倫理等）的關係 之間周旋協商。

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I believe negotiation, problem solving, and the ability to orchestrate elements to form a whole are important to our times.

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我認為，協商、問題解決和編排元素形成整體的能力在我們的時代是十分重 要的。

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Table of Contents 19

23

27

81

121

165

213 233 239

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Preface Wilfred Wong Ying-wai and Victor Lo Chung-wing Foreword Suhanya Raffel Matters of Articulation: On Shirley Tse’s Sculptural Practice Christina Li One Thing Connected to Another: Shirley Tse’s Sculptural Theory of Collectivity Miwon Kwon Dancing with the Tool: Considering Technologies in ‘Playcourt’ and ‘Negotiated Differences’ Evelyn Char The Work Begins When Things Converge: Shirley Tse in Conversation with Chris Kraus Archival Documents Artist Biography Credits

目錄 20

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28

82

122

166

213 234 240

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序言 王英偉、羅仲榮 前言 華安雅 相連之物，言說之事： 謝淑妮的雕塑實踐 李綺敏 物物相連： 謝淑妮有關集體性的雕塑理論 權美媛 與工具共舞： 論《Playcourt》和《Negotiated 查映嵐 萬物相匯，創作之始： 謝淑妮與Chris Kraus對談 文獻資料 藝術家簡歷 版權

Differences》中的技術

Matters of Articulation: On Shirley Tse’s Sculptural Practice Christina Li

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相連之物，言說之事： 謝淑妮的雕塑實踐 李綺敏

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‘Do Cinderblocks Dream of Being Styrofoam?’, 2003, extruded polystyrene foam, 50.8 × 104.1 × 68.6 cm

‘Diaspora? Touristry?

Series’, 2000, ilfo­chrome, 66.04 × 101.6 cm

‘We forget that objects have a history. They shape us in particular ways. We forget why or how they came to be. Yet “naturalized” objects are historically specific.

Contemporary regimes of power have become capillary, in the sense that power is embodied in widely distributed institutions and objects.’ 1 —Sherry Turkle Things are more than passive objects thrust into our daily lives as possessions. The mechanisms behind their manufacture, consumption, and circulation—as well as the individual and collective relationships they impart—are fundamental touchstones that define socio-economic relations and subjectivities. At the centre of material culture, they are the reference materials in Shirley Tse’s two-­ decade-long exploration into contemporary society through her expansive artistic practice. She takes their polymerous uses as entry points to decipher the world, deconstructing their inconspicuous entanglements. For ‘Shirley Tse: Stakeholders, Hong Kong in Venice’ at the 58th International Art Exhibition – La Biennale di Venezia, the artist juxtaposes plastics with raw materials, namely wood, and readymades such as studio and sports equipment, to unravel the histories, imaginations, applications, and technologies embedded within them; the two installations on view, ‘Negotiated Differences’ and ‘Playcourt’, look at individuals as stake­ holders in the production, use, and meanings of objects.

Her rigorous investigation into what she calls ‘multiplicities’ within these generic elements engenders ‘a form of materialism, which calls for the ability to think fluidly, to understand complexity and to negotiate conflict’.2 These elements predominately concern consumer plastics and polymers such as styrofoam and other forms of polystyrene, which she worked with in the 1990s through the early 2000s. Her impressions culminate in poetic and unexpected sculptural amalgams of common materials.

1 Sherry Turkle, “What Makes an Object Evocative?”, in ‘Evocative Objects: Things We Think With’, ed. Sherry Turkle (Cambridge, MA: MIT Press, 2011), 311.

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2 Shirley Tse, ‘Technology, Plastic, and Art’, Art and Technology Symposium, International Association For Philosophy and Literature, 22nd Annual Conference, University of California, Irvine, May 1998, revised May 2003.

「我們都忘記了，物件皆有其歷史，它們以某種方式塑造我們。

我們忘了它們為何或如何變成如今的模樣。然而，『自然化』的 物件都有其特定的歷史。當代權力體系猶如毛細管滲透各處， 因為各種不同的制度和物件都體現着權力。」1 ——Sherry Turkle 《Do Cinderblocks

Dream of Being Styrofoam?》，2003年， 擠塑聚苯乙烯泡沫塑膠， 50.8 × 104.1 × 68.6厘米

《Diaspora? Touristry? 系列》，2000年，染料漂 除式照片，66.04 × 101.6 厘米

事 物 不 僅 是 被 塞 進 我 們 的 日 常 生 活 之 中 ， 為 人 所 擁 有 ， 其 生 產 、 消耗和流通背後的機制，以及由它們賦予的個人或集體關係，都是定 義各種社會經濟關係和主體性的基本標準。二十年來，謝淑妮藉着廣 泛的藝術實踐來深入探索當代社會，而處於物質文化中心的事物， 就是她創作的參照材料。她以這些事物繁多的用途為切入點，解讀世 界中種種蔽而不彰的糾葛。她代表香港參加第 58 屆威尼斯雙年展， 在展覽「謝淑妮：與事者，香港在威尼斯」中展出新作。當中她把塑 膠與多種原材料並置，所謂原材料是指木材，另外還有攝影棚設備、 運動器材等現成物，藉此揭開深藏其中的歷史、想像、應用和相關 科技。兩件展出的裝置作品分別為《Negotiated Differences》和 《Playcourt》，它們均把個人視為物件生產、使用和意義生成過程中 的與事者（stakeholders）。謝淑妮嚴謹地研究這些常見元素中的所 謂「多樣性」，由此產生「一種物質主義的形態，而當中需要靈活思 考、理解複雜性和協商矛盾的能力」2。這些元素大部分是塑膠消費品 和諸如聚苯乙烯或發泡膠之類的聚合物。自1990年代至2000年代初， 謝淑妮一直以這些尋常物料來創作，其意念最終化成各種滿有詩意、 出人意表的雕塑混合物。 1 Sherry Turkle：〈What Makes an Object Evocative?〉，載Sherry Turkle編：《Evocative Objects: Things We Think With》（馬薩諸塞 州劍橋：MIT Press，2011年）， 頁311。

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2 謝淑妮：〈Technology, Plastic, and Art〉，演講，「Art and Technology Symposium」， 「 International Association For Philosophy and Literature 22nd Annual Conference」， 加州大學爾灣分校，1998年5月， 2003年5月修訂。

‘Untitled’ (detail), 1996, found styrofoam, vinyl, and adhesive, dimen­sions variable.

Luckman Fine Arts Collection, California State University, Los Angeles

‘Untitled’, 1996, found styrofoam, vinyl, and adhesive, dimensions variable.

Luckman Fine Arts Collection, California State University, Los Angeles

Tse was born and raised in Hong Kong, near the Kwai Chung Container Port, and has been based in Los Angeles for the last twenty years, and it comes as no surprise that she is invested in thinking through and visualising heterogeneity.

She does so specifically within materials, examining their far-reaching trajectories to reflect upon her own subjectivity and relationship to a framework of globalisation. Against the commonly held cliché of Hong Kong as a confluence of East and West, Tse has long avoided the exhausted East/West, Culture/Nature binaries.3 Her embrace of multiple subject-­ object positions dovetails with her fascination with plastic— the emblem of modernity and utopian progress, a transient material that has conditioned the global nexus of accelerated logistical flows and collapse of geographical distances.

The material’s contribution to imminent ecological destruction is tied to its protean function as readily available merchandise and protective packaging.

Tse takes up this discussion in her earliest works on the malleable in-between nature of and our dependence on styrofoam packaging. In her words, this ‘pristine brand-new trash’, cushioning the products during transit, is immediately rendered valueless the second the product is unpacked.

Her work ‘Untitled’ (1996) initially appears to be a curious stack of generic styrofoam blocks. On closer inspection, the manufactured protrusions and cavities, moulded to the shape of whichever product they encased, are upholstered in plastic vinyl. The alien veneer and tactility of these once familiar protective casings is captivating. It is a subtle intervention that calls attention to the paradoxical nature of packaging when estranged from its counterpart; Tse turns the styrofoam readymade into a self-contained object, made complete again through the plastic vinyl interface in the shape of goods they were manufactured to hold.

3 Shirley Tse, ‘Post-colonial Mutation and Artificiality— Hong Kong, a case study’, slide lecture, The Chance Event: 3 Days in the Desert, Whiskey Pete’s Casino, Primm, Nevada, 8–11 November 1996.

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謝淑妮在香港出生和成長，家住葵涌貨櫃碼頭附近，過去二十年則居 於洛杉磯。在這樣的背景下，不難理解她為何會對異質性孜孜探究， 並用視覺化方式予以呈現。而她的具體做法是採用不同物料，探究它 們無遠弗屆的蹤跡，藉此反思自身的主體性及其與全球化框架之間的 關係。香港素來被譽為融會中西之地，謝淑妮則反對這種陳腔濫調， 早已避免採用東／西、文化／自然這些老套的二分思維3。她重視多元 的主體—客體定位，這切合於她對塑膠的着迷：把塑膠視為現代性和 烏托邦式進步的象徵，一種不耐久的物料，支配着不斷加速運作的全 球物流紐帶，縮短地理上的距離。這種物料用途廣泛，製成各種便利 的商品和保護包裝，卻造成迫在眉睫的生態破壞危機。 《Untitled》局部， 1996年，現成發泡膠、 乙烯、黏合劑，尺寸 不定，洛杉磯加利福尼亞 州立大學Luckman

Fine Arts Collection

《Untited》，1996年， 現成發泡膠、乙烯、 黏合劑，尺寸不定， 洛杉磯加利福尼亞州立 大學Luckman Fine

Arts Collection

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謝淑妮在早期的作品中已觸及這問題，探討柔韌的發泡膠包裝的中 介性質，以及我們對它的依賴。以她的話來說，這件「完好全新的 垃圾」，在運送過程中保護產品，而在產品包裝被拆開瞬間就隨即 報廢。她的作品《 Untitled 》（ 1996 年）乍看恍如一堆奇形怪狀、 平平無奇的發泡膠包裝。細看之下則可見，那些依照所放置產品的形 狀而模造的凸起物和空隙，均覆以一層乙烯塑膠。這些陌生的飾面和 觸感，讓本來再熟悉不過的保護包裝變得引人入勝。那是一種微妙的 介入，讓人察覺到包裝脫離其保護對象後的矛盾性質；謝淑妮把這些 發泡膠現成物轉化為獨立的物件，藉着按它們所包裝的產品輪廓而製 成的塑膠乙烯表面，這些發泡膠再次成為完整之物。 3 謝淑妮：〈Post-colonial Mutation and Artificiality: Hong Kong, a case study〉，投影片講座，發表於 「 The Chance Event: 3 Days in the Desert」座談會，內華達州 普萊姆Whiskey Pete’s賭場， 1996年11月8至11日。

‘Fishing at the Container Terminal’, 2003, polystyrene and vinyl, 53.3 × 106.7 × 91.4 cm. Private Collection

‘Bionicpak’ (detail), 2001, polystyrene, 38.1 × 121.9 × 83.8 cm. Hong Kong Heritage Museum

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‘Bionicpak’ (detail), 2001, polystyrene, 38.1 × 121.9 × 83.8 cm. Hong Kong Heritage Museum

《Fishing at the Container Terminal》，2003年，聚苯乙烯、乙烯， 53.3 × 106.7 × 91.4厘米，私人收藏

《Bionicpak》局部，2001年，聚苯乙烯， 38.1 × 121.9 × 83.8厘米，香港文化博物館

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《Bionicpak》局部，2001年，聚苯乙烯， 38.1 × 121.9 × 83.8厘米，香港文化博物館

‘Matter came to be presented as a malleable and docile partner of creation—a kind of Play Doh in the hands of the clever designer who informs matter with intelligence and intentionality.’4 —Bernadette Bensaude-Vincent ‘Polymathicstyrene’ (detail), 2000, polystyrene, dimensions variable

‘Polymathicstyrene’ (detail), 2000, polystyrene, dimensions variable

The Plastic Age has markedly shaped civilisation. Plastic’s malleability and aid in technological progress have led to advances in the design of consumer products as much as energy and military infrastructure. Tse ruminates on the mater­ial as both support and structure, and its slippages between the interconnected realms of material, technology, design, and progress. Twenty years prior to the Venice presentation, her first large-scale room-sized work, ‘Polymathicstyrene’ (2000), embraced a notable architectural quality in spatially interacting with the built environment.

Industrial design and handicraft were both subject matter and approach used by Tse to deconstruct the manufactured reality within the gallery space. The installation is fitted at waist height, featuring an undulating series of hand-carved representational systems on pale blue slabs of polystyrene lining the four gallery walls. The work can only be experienced from multiple shifting viewpoints. With a handheld router, Tse hollowed out intentionally abstract and partially recognisable forms from the polystyrene panels to create what appear to be clusters of built structures seen from a bird’s-eye view, across time, geographies, and societies, flattened and unfolding over the shared plane.

4 Bernadette Bensaude-Vincent, “Plastics, Materials and Dreams of Dematerialization”, in ‘Accumulation: The Material Politics of Plastic’, ed. Jennifer Gabrys, Gay Hawkins, and Mike Michael (London: Routledge, 2013), 22.

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「物質被視為從事創造時既可塑又易駕馭的同伴——猶如聰明的設

計師手中的培樂多黏土，可按心中意圖用智慧捏塑之。」4 ——Bernadette Bensaude-Vincent 「塑膠時代」對文明的塑造實在矚目。塑膠的延展性和對科技發展的輔助，

為消費品設計以至能源和軍事基礎建設帶來長足進步。謝淑妮反覆思 《Polymathicstyrene》 局部，2000年， 考這種既能支撐也是結構的物料，它在物質、科技、設計以及發展進 聚苯乙烯，尺寸不定 程的互聯領域之間遊走滑動。早於威尼斯展覽前二十年，謝淑妮就創 作了《 Polymathicstyrene》（ 2000 年），這是她首件大型作品， 約莫房間大小。這件作品與既有環境的空間互動配合，呈現出明顯 的建築性質。謝淑妮以工業設計和手工藝為主題和手法，解構在展覽 空間中由人創造出來的現實。這件裝置以一系列淡藍色聚苯乙烯（泡 沫塑膠）板為主，其上以人手雕刻多種具象系統，整件作品安裝於展 場四壁的腰高位置，高低起伏地圍繞展場。要從多個視角觀看，才能 體會整件作品。謝淑妮以一個手持修邊機，刻意在聚苯乙烯板上雕鏤 各種故意抽象和略可辨認的形態，創造出恍如從空中鳥瞰所見的建築 群，跨越時間、地理和社會，在同一平面上變得扁平和展露無遺。 《Polymathicstyrene》 局部，2000年， 聚苯乙烯，尺寸不定

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4 Bernadette Bensaude-Vincent： 〈Plastics, Materials and Dreams of Dematerialization〉，載於Jennifer Gabrys、Gay Hawkins和Mike Michael編：《The Material Politics of Plastic》（倫敦：Routledge， 2013年），頁22。

‘Power Towers’ (detail), 2004, high-density polyethylene and therapy putty, polystyrene, and found plastics, dimensions variable

‘Power Towers’ (detail), 2004, high-density polyethylene and therapy putty, polystyrene, and found plastics, dimensions variable

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In ‘Power Towers’ (2004) Tse probes plastic’s revolutionary role in the movement of goods that has also been addled by electricity. Polymer, a by-product of petroleum, insulated the foundations of modern power transmission after its development in the 1930s. Contrasting material traits and technological history converge in the installation of six miniature high-­density polyethylene cable towers linked with plastic wires and plugged with Silly Putty. The opposition between the models’ totalising insularity and supposed networks of electrical flows rendered the works a much-­needed intermission during a period of psychological exhaustion experienced by the artist. This equivocal tension between creation and depletion is a poignant reminder of the naturali­ sation of man-made structures in our ‘natural’ landscape.

在《Power Towers》（2004年）中，謝淑妮以電力為題介入貨物的 流通，探究塑膠在當中的革命性作用。自 1930 年代現代輸電系統開 發至今，作為石油副產品的聚合物即成為輸電塔的絕緣材料。這件裝 置由六座微型高壓電塔組成，它們以高密度聚乙烯（熱塑性塑膠）製 造，以塑膠電線相連，並以 Silly Putty黏土填塞，當中呈現出截然不 同的物質特性和技術史。這些模型整體上的絕緣性，與輸電網絡應能 通電的特點恰成對立，為謝淑妮創作到心力交瘁之時帶來亟需的中途 歇息。這種創造與枯竭之間難以理解的張力，深刻地提醒我們，人工 結構在「自然」景觀中的自然化。 《Power Towers》 局部，2004年，高密度聚 乙烯、治療用黏土、 聚苯乙烯、現成塑膠物件， 尺寸不定

《Power Towers》 局部，2004年，高密度聚 乙烯、治療用黏土、 聚苯乙烯、現成塑膠物件， 尺寸不定

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‘Power Towers’ (detail), 2004, high-density polyethylene and therapy putty, polystyrene, and found plastics, dimensions variable

‘Power Towers’ (detail), 2004, high-density polyethylene and therapy putty, polystyrene, and found plastics, dimensions variable

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《Power Towers》局部，2004年，高密度聚乙烯、治療用黏土、聚苯乙烯、 現成塑膠物件，尺寸不定

《Power Towers》，2004年，高密度聚乙烯、治療用黏土、聚苯乙烯、 現成塑膠物件，尺寸不定

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‘Jack of Heart’ (detail), 2006, high-density polyethylene and polyethylene vinyl acetate, 115.6 × 264.2 × 86.4 cm.

M+, Hong Kong

‘Jack of Heart’, 2006, high-density polyethylene and polyethylene vinyl acetate, 115.6 × 264.2 × 86.4 cm.

M+, Hong Kong

Tse’s focus on heterogeneity and self-referentiality in mater­ ial is congruent with her use of language—literally and metaphorically. ‘Power Towers’ denotes her eventual shift away from only using plastic in her work to a more expanded conceptual understanding of the material. In many ways, Tse’s use of plastic as an adjective is indicative of its traction in contemporary culture. Her continued work at the intersection of plastic’s material, technological, and cultural histories culminated in an exhibition on military industry in 2007. Amid the United States’s provisory plans for a military surge in Iraq after Saddam Hussein’s execution, her exhibition ‘Sink Like a Submarine’ revealed connections among textile, computing, and military industries in the twentieth and twenty-first centuries. The exhibition begins with a marvel of the Industrial Revolution,5 the Jacquard loom, loosely transliterated as ‘Jack of Heart’ (2006), a work comprising a white plastic folding frame that holds two rolls of interlocking vinyl strips.

The loom creates and deconstructs, and in its decided ambivalence emotes Tse’s refraining from judgment on its use in the digital age and contemporary warfare alike; instead, the artist’s provocative sculptures convey histories, manufacturing a space for open interpretation. In her title work ‘Sink Like a Submarine’ (2006), the bound jagged splinters of plastic submarine parts are also cast as replicas alongside imagined ancient counterparts all enclosing a jade heart.

Curiously, this exhibition centrepiece contrasts resistances within different materials. From textiles to weaponry, the yielding qualities of synthetic and natural elements show up technological progress across time to highlight its contribution to instruments of war. Through Tse’s lyrical meditation on the adaptive mechanics and materials that undergird contemporary warfare beneath flows of capital, borders become palpable and immaterial at once.

5 The Jacquard loom’s punch-cardsequenced operation is considered the precursor to the computing hardware from which IBM developed its technology and provided data and logistical man­agement to Nazi Germany during the Second World War.

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《Jack of Heart》 局部，2006年，高密度 聚乙烯、聚乙烯—醋酸乙 烯酯，115.6 × 264.2 × 86.4厘米，M+，香港

《Jack of Heart》， 2006年，高密度聚乙烯、 聚乙烯—醋酸乙烯酯，

115.6 × 264.2 × 86.4厘米，M+，香港

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謝淑妮聚焦於物料的異質性和自我指涉性，這與她對語言的運用相 一致：字面義和隱喻義兼用。《Power Towers》象徵她從在創作中 僅採用塑膠為媒材，轉為在概念性上對這種物料有了更廣泛的理解。 她經常以塑膠為形容詞，由此顯示這種物料在當代文化中的影響力。 她繼續鑽研塑膠的物質、科技和文化歷史的交匯，這在2007年一場有 關軍事工業的展覽中達到極致。當時，美國政府在處決薩達姆．侯賽 因（Saddam Hussein）後，向伊拉克大舉增兵。在這樣的背景下， 謝淑妮的展覽「Sink Like a Submarine」揭示了二十和二十一世紀 紡織品、電腦技術和軍事工業的關係。展覽以一項工業革命的奇跡事 物揭開序幕：雅卡爾提花織機（Jacquard loom）5。作品以此諧音 譯為《 Jack of Heart》 （ 2006年），由一個白色的塑膠折疊架和 承托其上的兩卷相互扣合的透明膠條組成。提花織機既生成也解構， 這種固有的矛盾觸動了謝淑妮，她不去論斷其在數碼時代和當代戰爭 中的應用，取而代之是以發人深思的雕塑來述說歷史，締造自由詮釋 的空間。《Sink Like a Submarine》（2006年）呈現一綑參差不 齊、尖細的潛艇塑膠部件，它們被鑄造成複製品，另外還伴以一些與 之對應的虛構古物，共同包裹着一顆玉製心臟。有趣的是，這件重點 展品對比了不同物料自身的阻力。從紡織品到武器，合成和天然元素 的柔性品質，都展現着跨越時間的科技發展，由此凸顯其對戰爭工具 的影響。在資本流動下發生的當代戰爭，是以各種具適應性的機械技 術和物質來支撐，謝淑妮以豐富情感深思這些技術和物質，令邊界變 得既明顯又無形。 5 提花織機的打孔卡片順序作業，被視 為電腦硬件的先軀， IBM 由此開發其科 技，並在第二次世界大戰期間向納粹德 國提供數據和後勤管理。

‘Sink Like a Submarine’, 2006, cast resin, found resin, brass, and jade, 63.5 × 215.9 × 55.9 cm. The Seavest Collection

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《Sink Like a Submarine》，2006年，澆注樹脂、現成樹脂、黃銅、玉， 63.5 × 215.9 × 55.9厘米，The Seavest Collection

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“Quantum Shirley: Show and Tell”, lecture performance in collaboration with Sam Shoemaker and Todd Richmond, ‘The Armory Show and Tell’, Armory Center for the Arts, Pasadena, California, 2013

‘A concept is defined less by its semantic content than by the regularities of connection that have been established between it and other concepts: its rhythm of arrival and departure in the flow of thought and language; when and how it tends to relay into another concept.’6 —Brian Massumi In accordance with her use of plastic to decode her immediate reality, Tse reconditions and reappraises her framework in response to her artistic explorations. Her vigorous pursuit and subsequent shift away from plastic turned her towards quantum physics. In this she found a generative framework to reconcile the incongruity among dissonant narratives evoked by material histories that collapse value and meaning and extend into generating nuanced interpretations of man-made environments. In her ‘Quantum Shirley Series’ (2009–ongoing), she casts light onto her diasporic background. She traces the movements of her ancestors in relation to, and as by-products of, colonisation and political and economic forces—first displaced and working as labourers in rubber and vanilla plantations in Malaysia and Tahiti, and then displaced by the Cultural Revolution in China.

Her methodology has involved following the ambit of an object’s circulation in the world before terms such as ‘globalisation’ and ‘logistics’ gained currency. In ‘Quantum Shirley’, her family members, herself included, become enmeshed subjects/ objects propelled across a network of itinerant trajectories. The foundational work in the series, ‘Superposition’ (2009), is a figurative translation of a playing card caught between two states of water, a cloud and a tidal wave, each resulting from different hydrologic cycles, a metaphor for the coexistence of parallel universes. A prologue to the series, the work recalls quantum theory’s contention that when a card falls, it does so on both sides at once; the state it presents is determined by our observation due to a collapse of the wave function.7 Making use of plastic and non-plastic materials and inspired by a childhood event, the artist imagines her parallel existence in Tahiti if her mother had gone ahead with the offer made by her aunt, a toy merchant, to adopt Tse, a possible alternate universe within the bounds of quantum theory.

6 Brian Massumi, ‘Parables for the Virtual Movement, Affect, Sensation’ (Durham, NC: Duke University Press, 2002), 20.

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7 ‘According to quantum theory, if a card falls, it falls on both sides at once. This can be explained by the

“collapse of the wave function”, which basically means that thing exists in many states but then collapses into one state when observed.’ Shirley Tse, “Quantum Shirley with Shirley Tse”, ‘The Armory Show and Tell’, Armory Center for the Arts, Pasadena, California, 24 August 2013.

「定義概念的因素，與其說是由其語義內容，不如說是它與其他概

念之間關係的規律性：它在思想和語言的流動中出現和消失的韻 律；它何時和如何傾向轉接其他概念。」6 ——Brian Massumi 「量子淑妮：

Show and Tell」講座展演（與Sam Shoemaker及Todd Richmond共同合作）， 加州帕薩迪納軍械庫藝術 中心展覽「The Armory Show and Tell」， 2013年

謝淑妮以塑膠為當下現實解碼，與此配合，她因應自己的藝術探索， 重新整理和評估其創作框架。她積極求索，其後試圖用塑膠以外的物 料來創作，由此走向了量子物理學。各種物質歷史引致相悖的論述， 彼此衝突牴觸，瓦解價值和意義，謝淑妮就從量子物理學找到一種能 發揮生成作用的框架，可調和上述衝突牴觸，進而產生對於人造環境 的細膩詮釋。在《量子淑妮系列》（2009至今）中，謝淑妮述說了自 身的遷移背景，她追溯祖先的足跡，探究其與殖民和政治及經濟力量 的關係，並把這些遷移歷史視為它們的副產品。她的祖先最初離鄉背 井，先赴馬來亞和大溪地當勞工，種植橡膠和香草，繼而在中國文化 大革命時再次遷徙。謝淑妮追蹤在全球化、物流等詞彙尚未盛行前， 物件在世界上的運輸流通。在《量子淑妮》中，她和她的家人均陷入 由流動軌跡所構成的網絡之中，變成落網的主體／客體。該系列的奠 基之作《Superposition》（2009）是一張撲克牌的具象化身，它被 困於浮雲和波浪之間，這兩種水的狀態形成於不同的水文循環，隱喻 平行宇宙的共存。這件作品是此系列的引子，讓人想到量子理論提出 的主張：一張紙牌掉下時，它的兩邊同時落地，根據「波函數塌縮」， 紙 牌 呈 現 的 狀 態 由 我 們 的 觀 察 決 定 7 。 謝 淑 妮 以 塑 膠 和 非 塑 膠 物 料 創作，並受某件童年往事啟發，她想像如果當時母親真的同意把她交 給玩具商姨母收養，可能存在於大溪地的另一個自己，這是根據量子 理論可能存在的平行宇宙。 6 Brian Massumi：《Parables for the Virtual Movement, Affect, Sensation, Post-Contemporary Interventions》（北卡羅來納州 達勒姆：Duke University Press， 2002年），頁20。

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7 「根據量子理論，一張卡片落下時， 是上下兩邊同時落地的。這可以用 『波函數塌縮』來解釋，簡單來說是一個

物件以多種狀態存在，但當被觀察時， 它會崩塌至某一種狀態。」謝淑妮： 《Quantum Shirley with Shirley Tse》， 「 The Armory Show and Tell」展覽， 加州帕薩迪納軍械庫藝術中心， 2013 年 8月24日。

‘Quantum Shirley Series: Platform’, 2010, cherry veneer, paper world map, fabric, and thread, 92 × 140 × 166 cm

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The artist maps out the story of colonialism and rippling interconnections among events both personal and historical in ‘Flotsam and Webs’ (2009), a storyboard of possible narratives also part of ‘Quantum Shirley’. The biographical glossary of laser-cut names of places and objects is fused atop initially soft polyurethane foam, to which the keywords become affixed once the foam hardens. Tse compresses charged narratives of survival and migration in her sculptural and conceptual process, flattened as innocuous words onto a planar surface. The compound spatial and colonial realities of China, Hong Kong, Tahiti, and Malaysia are put into contact and aligned with commodities; for instance, the artist’s affiliation with the Hakka diaspora and universal subjects such as art, all undeniably part of her own identity formation, amassed subsequently to institute a latent sphere of her subjectivity. The ongoing series not only figuratively addresses multidimensional realities, but also Tse’s subjectivity is implicated and put into relation with the geopolitics and trade routes.

《量子淑妮系列: Platform》，2010年， 櫻桃木飾板、紙本世界 地圖、布料、線， 92 × 140 × 166厘米

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《Flotsam and Webs》（2009年）是《量子淑妮》系列的另一件作品， 謝淑妮以之為故事板，記載各種可能出現的述事，鋪陳殖民主義的 故事，以及個人和歷史事件之間連鎖發生的相互聯繫。她在聚氨酯 泡棉上熔合了以激光切割的不同地方和物件的文字，整理成其人生的 詞彙表。當本來質地柔軟的聚氨酯泡棉逐漸硬化，其上的關鍵詞也固 定成形。謝淑妮把牽動強烈感情、有關生存和遷徙的述事，壓縮在其 雕塑和概念化過程之中，最終在平坦的表面上化成平淡無害的文字。 中國、香港、大溪地和馬來西亞四地複合的空間和殖民現實，在作品 中彼此關聯，同時與商品並列；例如，謝淑妮與客家人遷徙或諸如藝 術這類普世題材之間的關係，無可否認皆是構成其身分的一部分。 它們逐漸累積，建構出其主體性隱而不顯的層面。這個持續進行的作 品系列，不僅以具象方式表述多維度的現實，謝淑妮的主體性也涉及 其中，並與地緣政治和貿易路線聯繫起來。

‘Quantum Shirley Series: Flotsam and Webs’, 2009, polyurethane foam and cherry veneer, 91.4 × 182.8 × 127 cm

‘Quantum Shirley Series: Flotsam and Webs’ (detail), 2009, polyurethane foam and cherry veneer, 91.4 × 182.8 × 127 cm

Foreground: ‘Quantum Shirley Series: Superposition’, 2009, polystyrene, foam core, digital print, paint, and metal, 106.7 × 259.1 × 152.4 cm Background: ‘Quantum Shirley Series: Double Comfort of a Soft Filled Space’, 2009, polystyrene and fibreboard, dimensions variable

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《量子淑妮系列：Flotsam and Webs》，2009年， 聚氨酯泡棉、櫻桃木飾板，91.4 × 182.8 × 127厘米

《量子淑妮系列：Flotsam and Webs》局部， 2009年，聚氨酯泡棉、櫻桃木飾板， 91.4 × 182.8 × 127厘米

前：《量子淑妮系列：Superposition》，2009年，聚苯乙烯、泡沫芯材、 數碼印刷物、油漆、金屬，106.7 × 259.1 × 152.4厘米 後：《量子淑妮系列：Double Comfort of a Soft Filled Space》， 2009年，聚苯乙烯、纖維板，尺寸不定

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‘The Happy Prince’, 2016, wire mesh, CelluClay, glass, C-stand, and book, height adjustable × 88.9 × 71.1 cm

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Tse’s negotiation goes beyond conflating objects. She evokes the asymmetrical hierarchies implied within the collision of a field of spatial and power relations demonstrated in ‘Quantum Shirley’. After devoting much of her career to reading the meta-structures of capitalism material­ised through sculpture, Tse’s focus in recent years revolves around human experience and dynamics in contemporary society. In her latest exhibition, ‘Lift Me Up So I Can See Better’ (2016), she furthers her experiments in figurative sculpture. Initially emerging with ‘Sink Like a Submarine’, Tse balances mass-produced and rare materials while incorporating craft as a sculptural technique. ‘Lift Me Up’ is underpinned by the allegory of Oscar Wilde’s ‘The Happy Prince’ (1888), in which a prince gives away his bejewelled eyes after witnessing the injustice of poverty. After chancing upon coloured glass pieces from the estate of artist Miriam Wosk, Tse drew a link to Wilde’s sightless protagonist. ‘The Happy Prince’ (2016), a CelluClay statuette with Wosk’s glass gems as eyes, is propped up by a C-stand that towers over a company of anthropomorphic figures on studio equipment stands: the green styrofoam and jade slab in ‘Jade Tongue’ (2016) and the poetic coalescence of flesh-coloured vinyl and strips of ocular nerves dangling off a microphone stand in ‘Optic Nerves’ (2016). The community of elongated forms are set in juxtaposition against ‘The Vehicle Series’ (2016), a low bleacher lined with hand-modelled abstract mesh configurations. Akin to a congregation of disembodied spectators with bulging glass eyes, they face the vertical forms. In this field of vision and action, Tse portrays disparities of elevation as an analogy for socio-economic chasms. The sculptures gather together in a speculative domain of agency through her installation where value is placed on the capacity for generosity and ethics, evinced by Wilde’s story and the artist’s repurposing of Wosk’s glass baubles. At the same time, Tse privileges the individual’s capacity to contend with the gridlock of societal polarities.

謝淑妮的協商不僅限於混合物件。《量子淑妮》呈現了空間和權力關 係的場域相互摩擦，謝淑妮從中揭示了不對稱的社會層級。她在創作 生涯中，孜孜不倦解讀藉雕塑來具體呈現的資本主義元結構，近年則 轉向關注當代社會中的人類經驗和動態變化。在最近期的展覽「 Lift Me Up So I Can See Better」（2016年）中，謝淑妮繼續其以具 象雕塑進行的實驗。她平衡兼用大量生產的物料和稀有物料，同時將 手工藝融入到雕塑技巧中，這種創作手法最初見於作品《Sink Like a Submarine》之中。「Lift Me Up」是以王爾德的寓言故事《快樂 王子》（ 1888 年）為基礎，王子在親眼目睹世間的貧窮不公後，把自 己的寶石眼睛施與他人。謝淑妮偶然從藝術家 Miriam Wosk遺產管 理人的捐贈中得到一些彩色玻璃塊，她想起王爾德故事中失明的主 《The Happy Prince》， 角。《 The Happy Prince》（ 2016年）是一尊以 CelluClay黏土 2016年，金屬絲網、 製成的小塑像，眼睛則以 Wosk的彩色玻璃塊充當。塑像以吊臂燈架 Celluclay黏土、玻璃、 支撐，高高矗立於一群以攝影棚器材架承托的擬人形態物件之上； 吊臂燈架、書，高度 可調整 × 88.9 × 71.1厘米 《Jade Tongue》（2016年）則以綠色發泡膠和玉塊製作；《 Optic Nerves》（2016年）以饒富詩意的方式結合肉色膠片和條狀視神經， 懸垂於麥克風腳架上。與這組形態偏長的物件並置的還有作品《 The Vehicle Series》（2016年），這是一列低矮的看台座椅，其上排列 着各種以人手塑造的網狀抽象結構，看似一群沒有軀體的凸眼觀眾， 面朝前述形態筆直的物件。在這個視覺與行動的場域中，謝淑妮以參 差不一的高度來比擬社會經濟地位的差距。她的裝置措意於慷慨施與 的大度和道德的寬容，各種雕塑透過這個裝置結集於設想出來的能動 性領域之中，並藉王爾德的故事和藝術家賦予 Wosk的彩色玻璃塊新 用途而得以呈現。與此同時，謝淑妮也藉着這系列凸顯出個人應對社 會兩極對立僵局的能力。

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‘Negotiated Differences’ (detail), 2019, carved wood and 3D-printed forms in wood, metal, and plastic, dimensions variable

‘Modern society is “de-skilling” people in practicing cooperation. The term “de-skilling” derives from the replacement of men by machines in industrial production, as complex machines replaced skilled craft-labour. … De-skilling is occurring in the social realm in equal measure: people are losing the skills to deal with intractable differences as material inequality isolates them, short-term labour makes their social contacts more superficial and activates anxiety about the Other.

We are losing the skills of cooperation needed to make a complex society work.’8 —Richard Sennett The combination of mechanisms and circulation of mass-­ manufactured commodities—their acquired cultural values and differing ideologies—is at the crux of Tse’s practice. As noted above, the role of the individual as producer and user of objects, and most importantly as citizen, is thoroughly articulated in her most recent site-responsive exhibition ‘Stakeholders’ for the Venice Biennale. Countering industrial technologies, the artist takes up new techniques, namely woodturning and digital technology. Craft and improvisation as sculptural approaches are foregrounded as modes of thinking through making and assembling in ‘Negotiated Differences’ (2019). The work, which traipses through the interior space, is a diagrammatic hybrid of wooden forms and everyday articles such as balusters, baseball bats, prosthetic limbs, and handrails linked together by 3D-printed and hand-carved metal and plastic joints. The body of lines and nodes criss-crosses narratives, technologies, and objects without imposing a hierarchy. Each wooden and synthetic articular joint is dynamically counterbalanced in space determined by multidirectional connectors and gravity.

The sprawling display perambulates the room’s surfaces in this former wood storage site. Tse plays with form and production in using deliberately erratic 3D-printed articulations based on open-source designs and woodturned reproductions mined from an index of musical instruments, sports equipment, and furniture. In the pastiche of forms, original function becomes invalid.

8 Richard Sennett, ‘Together: The Rituals, Pleasures and Politics of Cooperation’ (London: Penguin, 2013), 8–9.

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「現代社會正使人『去技術化』，逐漸喪失踐行合作的技巧。『去技

術化』一詞源自工業生產以機器替代人手，即以精密機器取代工藝 熟練的勞工……情況與之相當的去技術化，正發生於社會領域： 人們因物質上的不平等而被孤立，逐漸失去處埋棘手的差異的技巧， 短期勞工的社會接觸愈趨表面，誘發對他者的焦慮。我們正在失去 令複雜社會得以運作的合作技巧。」8 ——Richard Sennett

《Negotiated Differences》局部， 2019年，雕刻木件、 3D打印木件、金屬件、 塑膠件，尺寸不定

謝淑妮創作實踐的核心，是商品大規模生產的機制和流通的結合── 它們所獲得的文化價值觀和互異的意識形態。如上所述，個人作為物 件的生產者和使用者，還有最重要的是身為公民的角色，在她於威尼 斯雙年展的展覽「謝淑妮：與事者」中得到充分論述，該展回應展 出場地的空間特質。為抗衡工業技術，謝淑妮採用了一些新技巧， 亦即木車工和數碼技術。《Negotiated Differences》（2019年）的 製作和組裝，把手工藝及即興創作這樣的雕塑手法凸顯成一種思維模 式。這件穿行於整個室內空間的作品，蜿蜒迆邐，是一組圖解式的混 合物，由各種形態的木製品和日常物品組成，例如欄杆、棒球棒、人 體「義肢」般的物件和扶手，這些物件均以3D打印和手工製作的金屬 及塑膠連接組件相連。整件由線條和節點組成的作品，與各種論述、 新舊科技和不同物件縱橫交錯，無分層級。每件以木和合成物料製造 的接合節點，在由多向連接組件和重力所決定的空間中，以動態方式 相互平衡。這件貼地蔓生的展品，在這個曾用作貯木倉庫的展館內徜 徉遊走。謝淑妮嘗試新的形態和製作手法，在創作中刻意採用3D打印 時出錯的接合裝置（檔案來自互聯網的開放源碼網站），並以一系列 樂器、運動器材和家具為依據，以木車工製造出複製品。在這個集眾 多不同形態於一身的作品中，物件失去了原來應有的功能。 8 Richard Sennett：《The Rituals, Pleasures and Politics of Cooperation》（倫敦： Penguin，2013年），頁8–9。

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‘Negotiated Differences’ (detail), 2019, carved wood and 3D-printed forms in wood, metal, and plastic, dimensions variable

‘Negotiated Differences’ (detail), 2019, carved wood and 3D-printed forms in wood, metal, and plastic, dimensions variable

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《Negotiated Differences》局部，2019年，雕刻木件、3D打印木件、金屬件、 塑膠件，尺寸不定

《Negotiated Differences》局部，2019年，雕刻木件、3D打印木件、金屬件、 塑膠件，尺寸不定

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‘Playcourt’, 2019, work in progress, artist's studio

‘Optic Nerves’, 2016, plastic sheet and metal stand, height adjustable × 94 × 61 cm

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Plastic is tied to automated production, consumption, and disposal. Given her long-time focus on these themes, Tse’s switch to a material at odds with them, to deflect away from accelerated contemporaneity, could be viewed as radical.

She began to attune and dedicate herself to the time, skill, and customisation carpentry demands. Apart from the equipoised demonstration of material, form, and craft, negotiation acquires an added reading. Working with a rotary lathe—an archaic apparatus considered the point of origin for machine tools—the hand becomes the intermediary between machine and matter. In the turning process, Tse works with, rather than against, the grain. Applying force to raw material, in the midst of a volatile sociopolitical reality, is a tactile manifestation of conflict negotiation; Tse’s approach to material takes into account ethics, acknowledgment, and mutual interchange. Without any premade plans or singular configuration, the work is an exercise in improvisation where form and composition are in the process of making, a constant process of extemporary negotiation with old and new elements and actors.

The agility of form and function, and the themes of agency, unpremeditated action, and exchange are synchronously addressed in the courtyard installation ‘Playcourt’. The work engages with the domestic function of a cloister with sculptures perched on tripods directing the viewer’s gaze skyward to the alignment of residential laundry lines above. Taking a cue from the makeshift badminton courts of her childhood in Hong Kong, where street furniture stood in for nets, existing works—‘Jade Tongue’, ‘Green Head’ (2016), ‘Optic Nerves’, and ‘Bamboo Extension’(2016)—from ‘Lift Me Up’ appear alongside new anthropomorphic sculptures on stands and working antennas. They are arranged in two converging lines resembling nets, thus transforming the site into a potential field of play actuated through physical negotiation and imagination. Stake-like sculptures, bleachers, repurposed colonial-era badminton rackets, and shuttlecocks are dispersed throughout the site. Aside from plastic, other material and personal narratives explored in Tse’s oeuvre—such as her family’s link to colonial trade probed in ‘Quantum Shirley Series’, plastic, technology, and the body—are synthesised and translated into shuttlecocks made out of vanilla beans and rubber. The imagined scenario in Venice displaces the artist’s autobiography, reconstituted from the network of references invoked in the framework of ‘Playcourt’.

《Playcourt》製作過程， 謝淑妮工作室，2019年

《Optic Nerves》， 2016年，塑膠片、 金屬支架，高度可調節 × 94 × 61厘米

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塑膠關乎自動化生產、消耗及廢物處理。謝淑妮長期關注這些議題， 而現在她轉用一種與之大相逕庭的材料，以消弭日益加速的當代性， 這種做法可能被視為根本性的改變。她開始令自己適應和投入於木工 所要求的時間、技巧和客製化性質。除了物料、形態和工藝的平衡展 示，協商還需要另一層解讀。車床是一種古老的工具，被視為各種機 器工具之源。在旋動的車床上作業時，人的手即變成機器與物質的中 介。在車製過程中，謝淑妮要順應木材的紋理，與之合作而非對抗。 在變化不定的社會政治現實中，施力於原材料上，可說是對協商矛盾 的觸感式呈現；謝淑妮處理物料的手法顧及道德價值、認可對方的特 點，並且彼此交流。這件作品沒有預定的計劃或單一的結構，而是一 次即興的創作活動，當中的形態和佈局，是在新舊元素和參與者不斷 即席協商的進程中逐漸生成。 形 態 與 功 能 的 靈 活 性 ， 以 及 能 動 性 、 非 預 謀 行 為 和 互 換 等 題 材 ， 也同時呈現於《 Playcourt 》之中。這件設在庭院中的裝置作品利用 具日常生活性質的迴廊，以三腳架把各種雕塑高高架起，藉此把參觀 者的視線引向高處排列整齊的家居晾衣繩。謝淑妮參照她兒時在香港 所見，用各種街邊物件充當球網的臨時羽毛球場，將曾在「 Lift Me Up」展出的作品《Jade Tongue》、《Green Head》（2016年）、 《Optic Nerves》和《Bamboo Extension》（2016年），連同豎立 在支架上新做的擬人形態雕塑，以及具接收功能的天線同場展出。 這些雕塑排成兩行，猶如兩張球網，再交會在一起，透過對物質的 協 商 和 想 像 ， 將 展 場 化 成 可 以 玩 耍 的 場 地 。 這 些 樁 柱 般 的 雕 塑 、 看台、改造過的殖民時代羽毛球拍，以及羽毛球，散佈於整個展場。 除了塑膠，謝淑妮作品中曾探究的其他物料和個人論述，如《量子 淑妮系列》中曾觸及的其家庭與殖民地貿易的聯繫，還有塑膠、科 技和身體等題材，也被合成和轉化於以香草豆莢和橡膠製成的羽毛 球中。在威尼斯所見的這種想像情景，是謝淑妮人生歷程的位移， 重組於《Playcourt》所喚起的參照網絡之中。

‘Playcourt’, 2019, work in progress, artist's studio

‘Playcourt’, 2019, work in progress, artist's studio

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《Playcourt》製作過程，謝淑妮工作室，2019年

《Playcourt》製作過程，謝淑妮工作室，2019年

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The overlay of site-specific histories takes on another layer as Tse incorporates amateur radio equipment—forerunner to digital communications—into the presentation, using antennas designed to pick up non-commercial frequencies and recreational broadcasting. Audible flows of communication in proximity to the courtyard amplify cacophonic articulations that are assembling and negotiating. The playful choreography of Tse’s subjectivities among the sculptures in an organic movement of encounters activates the sculptures as markers that shape the potential interactions unfolding within the contested field of action and discord.

‘Playcourt’, 2019, work in progress, artist's studio

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Tse works against conventions of protocol and efficiency at the core of productivity-driven mechanisations of contem­ porary society. The artist rigorously unpacked this early on in her practice, and in ‘Stakeholders’, as an antithetical gesture, espouses slowness. In this transgressive contrarian space of affect, empathy, and ethics, the two-part presen­ tation gives form to turbulent societies circumscribed by individual decisions and the failure of consensus politics.

If things are Tse’s tools to decipher the guiding mechanisms and forces behind them, they are also objects that through activation bring out into the open how they shape societies and those who live in them. Tse’s meticulous approach to objects and process helps visualise dynamics and ethical codes in interactions. The Venice Biennale presentation implicates the public as stakeholders in improvised negotiation, and the manifold processes and materials delicately counterbalanced in ‘Negotiated Differences’ and the imaginary polyphonies conjured by ‘Playcourt’ invite the viewer to consider coexistence in affirming each other’s agency at the core of a shared heterogeneous society. Through her unique sculptural practice, Tse carefully considers what individuals can learn from ubiquitous materials, processes, and structures that shape a pluralistic world.

業餘無線電器材是現今數碼通訊的先軀。謝淑妮將之納入其裝置中裝 設天線，用於接收非商用頻率和休閒娛樂性質的廣播，這些場域特定 的歷史故事也就增添另一層深意。庭院周遭可耳聞的溝通交談，把正 在不斷聚攏和協商的喧譁沓雜聲音放大。謝淑妮在這些雕塑之間，以 趣味盎然的方式編排了眾多主體性共舞，形成一場自然而然的邂逅相 遇運動，令雕塑化成標記，在行動與不和諧的相爭場域中，形塑可能 出現的互動。 當代社會着眼於生產力而追求機械化，謝淑妮的創作跟此中所講求的 程序與效率背道而馳。她在早期作品中已極力顯露這種做法，並在 「謝淑妮：與事者」中崇尚緩慢，藉以表現出分庭抗禮的姿態。這個由

《Playcourt》製作過程， 情感、同理心和倫理道德組成的空間悖離於常軌，反其道而行，這 謝淑妮工作室，2019年 個由兩部分組成的展覽，為因個人決定和共識政治失靈而陷入動盪 的社會賦予形態。如果事物是謝淑妮用以破解社會指導機制及其背後 力量的工具，那麼這些物件在激活後，也能揭示它們是如何形塑社會 和生活於其中的人。謝淑妮以一絲不苟的手法處理物件和過程，有助 以視覺化方式呈現互動中的動態變化和道德規範。這次參與威尼斯雙 年展的展覽令公眾也參與其中，成為即興協商中的「與事者」。在 《Negotiated Differences》中，多種多樣的工序和物料巧妙地相 互平衡；而《 Playcourt 》則呈現出想像的複調聲音，邀請參觀者對 共存加以思考，明白共有的異質化社會的核心，在於承認彼此的能動 性。謝淑妮藉着獨特的雕塑實踐再三思忖，從塑造多元化世界的那些 處處可見的物料、工序和結構中，個人究竟可得到何種領悟。

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Captions for the following image essay pages: ‘Untitled’, 1995, brass, 152.4 × 101.6 × 28 cm. M+, Hong Kong ‘Untitled’, 1996, found styrofoam, vinyl, and adhesive, dimensions variable ‘Polymathicstyrene’, 2000, polystyrene, dimensions variable ‘Shelf Life’, 2002, polystyrene, memory foam, and acrylic, approx. 150 × 980 × 160 cm ‘Power Towers’, 2004, high-density polyethylene, therapy putty, polystyrene, and found plastics, dimensions variable ‘See You at the Bottom of the Sea’, 2007, aluminium, jade, resin, cable, pulley, flashlight, steel, and post-consumer plastic debris, 127 × 381 × 101.6 cm.

Private Collection ‘Quantum Shirley Series: Squaring the Circle’, 2010, foam core, polystyrene, and reflective fabric, 244 × 114 × 76 cm ‘The Vehicle Series #2’, 2016, wire mesh and glass, 17.8 × 12.7 × 12.7 cm ‘The Vehicle Series’, installation view, 2016

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以下數頁影像論文的圖注： 《Untitled》，1995年，黃銅，152.4 × 101.6 × 28厘米，M+，香港 《Untitled》，1996年，現成發泡膠、聚苯乙烯、黏合劑，尺寸不定 《Polymathicstyrene》，2000年，聚苯乙烯，尺寸不定 《Shelf Life》，2002年，聚苯乙烯、記憶海綿、亞加力，約150 × 980 × 160厘米 《Power Towers》，2004年，高密度聚乙烯、治療用黏土、聚苯乙烯、現成塑膠，尺寸不定 《See You At the Bottom of the Sea》，2007年，鋁、玉、樹脂、電線、滑輪、手電筒、 鋼、使用後的塑膠碎件，127 × 381 × 101.6厘米，私人收藏 《量子淑妮系列：Squaring the Circle》，2010年，泡沫芯材、聚苯乙烯、反光布料， 244 × 114 × 76厘米 《The Vehicle Series #2》, 2016年，金屬絲網、玻璃，17.8 × 12.7 × 12.7厘米 《The Vehicle Series》展出現場，2016年

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I am a keen observer of our daily visual landscape.

107

我是一個對日常生活景觀的積極觀察者。

108

I didn’t enter theory through art; I entered it through activism when I was a college student studying fine arts.

109

我並非通過藝術進入理論的。我在大學修純藝術時透過學生運動開始進入 理論。

110

The philosophical and cultural implications of my observed phenomena fuel my art practice.

111

透過觀察到的現象，以哲學性和文化性的含義推動我的藝術創作。

112

The key to originality and a unique voice is not just being a genius or having the ability to express but to not make assumptions.

113

創意和獨特見解的重點不在於一個人是否天才或者所具的表達能力，而是放 下任何前設。

114

As an urban dweller, I am particularly drawn to material technologies and the myriad connections and narratives among them.

115

作為都市人，我對物料技術和它們之間無數的關聯和故事特別感興趣。

116

I don’t think I would have had the same kind of conviction had I just studied theory through art or art history. It would make less sense 117 to me.

如果我只是通過藝術或藝術史來學習理論，我應該沒有現在的這種信念，因 為它對我來說可能會沒那麼迫切。

118

When I was a student, I disagreed with a lot of the content of what my professors said, but really appreciated their way of coming to 119conclusions.

當我還是學生的時候，教授說的許多具體內容我都不同意，但我很欣賞他們 達成結論的方法。

120

This is a very sculptural thing to think about.

121

這件事思考起來很具雕塑性。

122

Captions for the following image essay pages: Review of The Chance Event: 3 Days in the Desert, Whiskey Pete’s Casino, Primm, Nevada, 8–11 November 1996, ‘Artweek’, January 1997, excerpt ‘The Outsider Show’, ArtCenter Auxiliary Gallery, South Pasadena, California, 1996, floorplan Interview by Emma Gray and Pablo Lafuente, “You haven’t taught until you see the light bulb in their eyes light up”, ‘Art Review’ 54, no. 7 (July/August, 2003). Group portrait, left to right: John Baldessari, Shirley Tse, Barbara Kruger, and Sam Durant Review of ‘Polyphantasmer II’, Gallery 456, New York, 8 September 1997, ‘Ming Pao Daily’ ‘Shirley Tse: Sink Like a Submarine’, ‘Artforum’ ad, 2007 ‘Polyphantasmer’, installation view, MFA Gallery, ArtCenter College of Design, Pasadena, California, 1996 ‘Diaspora? Touristry? Series’, 2000, slides Documentation slide sheet, 2019

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以下數頁影像論文的圖注： 「 The Chance Event: 3 Days in the Desert」座談會（美國內華達州普里姆的威士奇皮特 賭場，1996年11月8至11日）評論選頁，刊於《Artweek》雜誌1997年1月號 加州南帕薩迪納ArtCenter Auxiliary畫廊「The Outside Show」展覽平面圖，1996年 Emma Gray和Pablo Lufuenta的採訪，〈You haven't taught until you see the light bulb in their eyes light up〉，《ArtReview》，第54卷，第7期（2003年 7／8月號），合照（從左到右）：John Baldessari、謝淑妮、Barbara Kruger、

Sam Durant 「 Polyphantasmer II」展覽（紐約畫廊456，1997年）評論，刊於《明報》，1998年9月8日 「謝淑妮：

Sink Like a Submarine」展覽廣告，刊於《Artforum》雜誌，2007年 加州帕薩迪納藝術中心設計學院MFA畫廊「Polyphantasmer」展覽現場，1996年 《Diaspora? Touristry? 系列》幻燈片，2000年 紀錄幻燈片，2019年

198

The next installation I want to share with you is called ‘Shelf Life’.

199

我想跟你分享的另一件裝置作品是《Shelf Life》。

200

After ‘Polymathicstyrene’ I wanted to play with the subject and object relationship in a different way.

201

在《Polymathicstyrene》之後，我想以一種不同的方式探討主體和受體的 關係。

202

I had this idea to have a sculpture that sits in the middle of the room and it has to be very large—so large that it would block the 203 entrance.

所以我萌生了在房間中央放置一件巨大雕塑的意念，它大得要擋住入口。

204

Viewers would have to climb up onto it.

205

觀者要爬上來才行。

206

The only way for you to experience the sculpture is to be inside of it.

207

體驗這件雕塑的唯一方法就是進入其中。

208

It collapses the subject/object relationship.

209

它打破了主體和受體的區別。

210

I guess from the very beginning I knew the terms ‘rigour’ and ‘vigour’ might seem to represent a dichotomy or binary; but they don’t 211 have to be;

我猜從一開始我就知道「嚴苛」和「活潑」可能是兩分或二元的，但也不一 定是，

212

or they are only so if you look at them from certain perspectives.

If you look at them from another perspective, they may be within the 213 same realm.

你從某個角度看待它們時就是，但如果你從另一個角度看，它們可能是處於 同一個領域的。

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From Metaphysics to Economics; From Multiplicities to Negotiations

By Shirley Tse A longer version of this text was published in ‘Akademie X: Lessons in Art + Life’

by Phaidon Press in 2015.

225

Typically, art students study critical theory, psychology, and philosophy, either through their art programme’s curriculum or through general education. While the utility of these courses may be obvious, I find studying economics to be very useful for contemporary art practice. I don’t mean the managing of finances—money is just one form of many possible economic systems. I mean economics in a more fundamental sense— economic science—the study of formal systems that describe the relations between resources within a society: the understanding of how a dynamic functions, how power fluctuates within equilibrium, how to translate between different modes, the articulation of the concept of ‘exchange’ in terms that are not monetary (such as ‘opportunity cost’), taking stock, re-­ evaulation, et cetera—all of these are great tools to help one navigate through the vast zone of contemporary art practice, where boundaries, forms, and states are liquidating fast, and situate oneself in the terrain.

Take the concept of ‘multiplicities’, for example. My initial understanding of multiplicities was through ontology and critical theory. I loved the concept but did find it rather abstract.

There were unanswered questions. For example, can embodiment be positioned while remaining multiplicitous? How does ethics enter into multiplicities? Lately, I have been attempting to answer these questions through a different lens—economics.

The process of negotiating helps me to articulate multiplicities in a different way.

We are always and already in constant negotiation. Negotiation, that is, between here and there, ours and theirs, literal and metaphorical, figural and discursive, real and abstract … just to name some polarities. But to limit one’s thinking to dyads or pairs would be myopic. I need not think of myself as floating, multiple ‘everybodies’ or ‘nobodies’, but rather a situated body that is always available for constant negotiations. The experience of multiplicities is not a given one—we have to struggle to get there. I find it very useful to think in terms of ‘negotiation’ instead of ‘ontological multiplicities’. Negotiation is hard work!

In writing ‘Galloping Through the Wheat’ (1993), I imagine that Dennis Oppenheim had to negotiate among his concepts (literal and otherwise) the semiotics of materials, the physics of materials, the semiotics of scale, cost of production, to name a few.

Another useful thing that should be taught in art schools is the Buddhist mantra ‘Love, not judge’. This applies to yourself, your work, and the people around you. In a critique situation, this state of mind can be very powerful. Invariably, art comes down to a question of value. There is a kind of fallacy in convincing others that your value is higher than theirs. It took me an awfully long time to answer (and to live) the question of value in these three words: ‘Love, not judge.’

You may joke that many artists are egomaniacs and hence it is an easy thing for them to love themselves. Egomaniacs may love themselves, but if they do, they are applying way too much judgment, often to the point of toxicity. They judge themselves to be the best, if nothing else.

You may be puzzled over how it is possible to avoid passing judgment when we’re presenting our artistic decision-making for analysis. I think it is totally possible to be critical without being judgmental. In a non-hierarchical setting, presenting the reasoning for one’s artistic decisions is not done for the purpose of one-upmanship, but rather for the purpose of challenging preconceived notions or assumptions in ways that make everyone reassess where and who they are.

There is a tool available to aid this process: ‘Nonviolent Communication’, a process that Marshall Rosenberg began to develop in the 1960s. The premise is that we share basic needs that are not in conflict; rather, it is our strategies for meeting those needs that are in conflict.

I am constantly surprised by how rarely communication skills are taught in homes or schools. We are socialised to believe that we communicate ‘naturally’—that we are capable of inherently understanding each other, presumably because we understand

ourselves. If only we knew how much our communication habits are not neutral, we would save a lot of trips to the shrink’s office.

We would also have a more profound understanding of values and how relative they can be to different people. Art is certainly not just about communication. However, in a practical sense, communication is a huge part of an artist’s practice: you communicate to your peers in critiques, to mentors, to curators, to art dealers, to art handlers, to lecture audiences, to art patrons, et cetera.

One of the questions prompted by Rebecca Morrill is: ‘Is there an activity you would recommend for sharpening a person’s visual intelligence?’

My answer is simply ‘thinking’. To me, thinking and looking are one and the same thing. Looking is about discerning relations and differences—so is thinking. We learn new things by summoning the old; we see new visual relations when we are fluent in the old ones. That’s why art is both experience and knowledge production. What I learn from economics about the complexity of relations will help me see relations in the world.

When I was a student, I looked at a lot of artwork by other artists, both in exhibitions and in reproduction. It was easy to be plagued by that ‘Oh, that has already been done’ jadedness.

Duchamp said art is about choosing, not creating. That really helped me to not get hung up on the idea of originality. Seeing other people’s work, even if it happens to be based on an idea I’ve also had, can become a form of excitement in kinship.

Since we have so many options or models for making a work, it can be very frightening to have to choose. Writers refer to this as the terror of the blank page. When I look at other artists’ work, I often say to myself: ‘How lucky I am to have seen how others have travelled down that specific path and to recognise that it’s not quite for me.’ That really helps me make up my mind how I want to proceed in my work. There’s nothing to lose in exposing yourself to other artists’ work. Sometimes, I can’t stand certain artists’ or writers’ work but do admire their way of thinking, their way of processing information and re-presenting it. I’ve come to understand that I don’t need to agree with

them in order to learn something from them. It surprises me to find that many young artists are afraid of losing their naivety or becoming corrupted if they look at other artists’ work. That’s an awfully Romantic idea that belongs in the nineteenth century.

Some young artists also seem to be afraid of losing ‘something’ when they talk about their work. I say ‘something’ because I’m not sure what that is exactly. The fear is unnecessary because in my mind the talk is not there to replace the ‘something’; it’s not that we can better communicate with each other through the talk rather than through the work.

The importance of an artist’s ability to articulate their practice lies not in translating work into language but in stating the premise of the work. I wrote a moment ago that there are many options or models for making work in 2013. While I celebrate the debunking of the myth of universal value, I also bear the responsibility to describe the model on which I base my prac-­ tice and hence the values to which I subscribe. This is best done through talking.

When I was twenty-three, my motivation for being an artist was simple and direct. I was on a mission to give form to the profundity of our experience. I deliberately say ‘our’, not ‘my’.

In the process of giving forms to the profundity of our experience, I would question the conditions in which forms are available to artists. I believe this is one place where epistemology, critical theory, and politics come in. For me, this is also when I get excited about making—again, this making will involve difficult negotiations in myriad ways but the reward for inven-­ tive thinking and making is tremendous.

When Rodney Graham walked through the Canadian forest in the dark with a Polaroid camera in 1976, he didn’t assume the camera to be the framing device for subjective viewing. Instead, he made the flash of the camera a light source so that he could have the experience of walking through the forest at night-time.

The resulting ‘75 Polaroids’ were not typical landscape photographs in 1976.

I am comfortable with saying that my motivation for being an artist is more or less the same today. I came to realise that I needed to negotiate how to continue my work in a society that undervalues such effort, or has yet to find a way to articulate economically its support of such value. Therefore, I tend to divert questions related to ‘career’ or ‘professional practice’. It seems to me that these terms come from a motivation that differs from my own. Perhaps the best professional practice for an artist is not to merely subscribe to existing models, but to learn from them how to craft a model that utilises the best of their resources.

Selected Solo and Two-Person Exhibitions 2019 ‘Shirley Tse: Stakeholders, Hong Kong in Venice’, Hong Kong Collateral Event, 58th International Art Exhibition – La Biennale di Venezia 2016 ‘Lift Me Up So I Can See Better’, Shoshana Wayne Gallery, Santa Monica, California

2004 ‘Power Towers’, Pomona College Museum of Art, Pomona, California ‘Power Towers and Inter-Mission’, Murray Guy, New York 2003 Perugi Artecontemporanea, Padua

‘Shelf Life’, Shoshana Wayne Gallery, Santa Monica, California

Selected Group Exhibitions and Collaborative Projects 2017 ‘Interstitial’, Pasadena Museum of California Art ‘Exquisite Corpse of the Unknown Veteran’, San Francisco Arts Commission

2012 ‘Vital Organs and Other Stories’, Shoshana Wayne Gallery, Santa Monica, California

‘Plastic Works’, Para Site, Hong Kong

2016 ‘J . . .’, a collaborative, limited-­ edition artist book by Michel Butor and Shirley Tse, Librairie Auguste Blaizot, Paris

2014 ‘Another Thing Coming: New Sculpture in LA’, Torrance Art Museum, Torrance, California

‘Transcending Trash: The Art of Upcylcing’, Muzeo Museum and Cultural Center, Anaheim, California

2013 ‘Freeways Studies #1: This Side of the 405’, Ben Maltz Gallery, Otis College of Art and Design, Los Angeles

2011 ‘Vital Organs’, Rocky Mountain College of Art + Design, Denver

1997 ‘Polyphantasmer II’, Gallery 456, New York

‘The Armory Show and Tell’, Armory Center for the Arts, Pasadena, California

“Real Sculpture, Virtual Reality”, a virtual reality event held in conjunction with ‘Lift Me Up So I Can See Better’, 20 August 2014 ‘Quantum Shirley’, Feldman Gallery, Pacific Northwest College of Art, Portland, Oregon

2010 ‘The Grand Hotel Abyss: Art in California during the Great Recession, I: Shirley Tse’, The Grand Hotel Abyss at Left Coast Books, Santa Barbara, California

‘Parallel World: Sara Tse and Shirley Tse’, Osage, Hong Kong 2007 ‘Sink Like a Submarine’, Shoshana Wayne Gallery, Santa Monica, California

‘WAITING . . .’, Murray Guy, New York

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2002 ‘Shelf Life’, Capp Street Project, San Francisco ‘Polytocous’, Murray Guy, New York 2000 Shoshana Wayne Gallery, Santa Monica, California Murray Guy, New York

‘ReMODEL: Sculpture Education Now: Expanding the Dialog’, Peggy Phelps Gallery, Claremont Graduate University, Claremont, California 2011 ‘Building Blocks: Contemporary Works from the Collection’, RISD Museum, Rhode Island School of Design, Providence, Rhode Island ‘Art Stage Singapore’, Osage ‘Slipping Transmission’, Osage, Hong Kong

主要個人及雙人展覽

2019 第58屆威尼斯雙年展香港展覽 「謝淑妮：與事者，香港在威尼斯」

2016

加州聖塔莫尼卡Shoshana Wayne 畫廊展覽「Lift Me Up So I Can See Better」 展覽同期的虛擬實境活動「Real Sculpture, Virtual Reality」於 8月20日舉行

2014 俄勒岡州波特蘭太平洋西北藝術學 院Feldmen畫廊展覽「量子淑妮」

2004 加州波莫納學院藝術博物館展覽 「 Power Towers」 紐約Murray Guy畫廊展覽 「 Power Towers and Inter-­mission」

2003 帕多瓦Perugi Artecontemporanea畫廊展覽 加州聖塔莫尼卡Shoshana Wayne 畫廊展覽「Shelf Life」

2002 三藩市Capp Street Project展覽 「 Shelf Life」

2012 紐約Murray Guy畫廊展覽 加州聖塔莫尼卡Shoshana Wayne 「 Polytocous」 畫廊展覽「Vital Organs and Other Stories」 2000 加州聖塔莫尼卡Shoshana Wayne 2011 畫廊展覽 丹佛洛磯山藝術設計學院展覽 「 Vital Organs」 紐約Murray Guy畫廊展覽 2010

加州聖塔芭芭拉 Left Coast Books書店「The Grand Hotel Abyss」系列展覽「The Grand

Hotel Abyss: Art in California During the Great Recession, I: Shirley Tse」 香港奧沙畫廊展覽「二地：謝淑婷 與謝淑妮」

2007

加州聖塔莫尼卡 Shoshana Wayne畫廊展覽「Sink Like a Submarine」 紐約Murray Guy畫廊展覽 「 WAITING…」

香港Para Site藝術空間展覽 「膠塑」

1997

紐約畫廊456展覽 「 Polyphantasmer II」

主要群展和合作項目

2017 帕薩迪納加州藝術博物館展覽 「 Interstitial」 三藩市藝術委員會展覽 「 Exquisite Corpse of the Unknown Veteran」

2016

《J…》，限量版藝術家書， Michel Butor、謝淑妮合著，巴黎 Auguste Blaizot書店展出

2014 加州托蘭斯美術博物館展覽 「 Another Thing Coming: New Sculpture in LA」

加州安娜翰Muzeo博物館及文化 中心展覽「Transcending Trash: The Art of Upcylcing」 2013 洛杉磯奧蒂斯藝術與設計學院 Ben Maltz畫廊展覽「Freeways

Studies #1: This Side of the 405」

加州帕薩迪納軍械庫藝術中心展覽 「 Armory Show and Tell」 加州克萊蒙特研究大學Peggy Phelps畫廊展覽「ReMODEL:

Sculpture Education Now: Expanding the Dialog」

2011 羅德島普羅維登斯羅德島設計學 院博物館展覽「Building Blocks:

Contemporary Works from the Collection」

奧沙畫廊於新加坡Art Stage國際藝 術博覽會的展覽 香港奧沙畫廊展覽「Slipping

Transmission」

236

2010 ‘Panorama: Los Angeles’, ARCO Madrid 2009 ‘Rebus’, Museo Archeologico di Amelia, Umbria ‘Material Intelligence’, Kettle’s Yard, University of Cambridge ‘Hiking Arte’, K11, Hong Kong 2008 ‘Patriot Acts’, 18th Street Arts Center, Santa Monica, California ‘Styrofoam’, RISD Museum, Rhode Island School of Design, Providence, Rhode Island 2007 ‘A Simple Complex Redux’, Brewery Project, Los Angeles

2006 ‘From America’, Museum of Modern Fine Art, Minsk ‘The Amber Room’, Luggage Store Gallery, San Francisco 2005 ‘Material Matters’, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York ‘Monuments to the USA’, CCA Wattis Institute for Contemporary Arts, San Francisco; White Columns, New York ‘Irreality’, Para Site, Hong Kong

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2004 ‘Particle Theory’, Wexner Center for the Arts, Columbus, Ohio ‘White Noise’, REDCAT (the Gallery at the Roy and Edna Disney/CalArts Theatre), Los Angeles ‘Topographies’, San Francisco Art Institute; Pasadena Museum of California Art ‘Cheng Ming in All Directions: 40 Years of Art at the Chinese University of Hong Kong’, Hong Kong Art Center 2003 ‘From My Fingers: Living in the Technological Age’, Kaohsiung Museum of Fine Arts ‘One Word: Plastic’, Weatherspoon Art Museum, University of North Carolina at Greensboro ‘1426 Showcase’, Fotan Gathering, Hong Kong

2002 Bienal Ceará América, Fortaleza, Brazil ‘Building Structures’, MoMA PS1, New York ‘Officina America’, Galleria d’Arte Moderna di Bologna; Museo de San Domenico, Imola; Galleria Ex Pescheria, Cesena; Palazzo dell’Aregno, Rimini Biennale of Sydney

‘Artists Imagine Architecture’, Institute of Contemporary Art, Boston

‘Out of Site’, New Museum, New York

‘Provisional Worlds’, Art Gallery of Ontario ‘Sprawl’, Cincinnati Contemporary Arts Center 2001 ‘01.01.01: Art in Technological Times’, San Francisco Museum of Modern Art ‘Promises’, Contemporary Art Gallery, Vancouver ‘Hemorrhaging of States’, TENT Centrum Beeldende Kunst, Rotterdam ‘Terra Incognita’, Nylon, London

2010 馬德里當代藝術博覽會展覽 「 Panorama: Los Angeles」 2009

2004

2002

俄亥俄州哥倫布衛克斯那藝術中心 展覽「Particle Theory」

巴西福塔萊薩美洲塞阿臘雙年展

安布里亞阿梅利亞考古博物館展覽 「 Rebus」

洛杉磯REDCAT（Roy and Edna Disney/CalArts Theatre）藝術 中心畫廊展覽「White Noise」

劍橋大學Kettle’s Yard畫廊展覽 「 Material Intelligence」

三藩市藝術學院、帕薩迪納加州藝 術博物館展覽「Topographies」

香港K11展覽「Hiking Arte」

2008 加州聖塔莫尼卡第十八街藝術中心 展覽「Patriot Acts」 羅德島普羅維登斯羅德島藝術及設 計學院博物館展覽「Styrofoam」

2007 洛杉磯The Brewery Project展覽 「 A Simple Complex Redux」 2006 明斯克當代藝術博物館展覽 「 From America」 三藩市The Luggage Store畫廊展 覽「The Amber Room」

2005

康奈爾大學Herbert F. Johnson 藝術博物館展覽「Material Matters」 三藩市加州藝術學院Wattis當代藝 術研究所、紐約White Columns 畫廊展覽「 Monuments to the USA」 香港Para Site藝術空間展覽 「玄．現實」

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香港藝術中心展覽「誠明四方： 中大藝術四十年」

紐約現代藝術博物館PS1當代藝術中 心展覽「Building Structures」 博洛尼亞現代藝術博物館、艾美 利亞—羅馬涅大區伊莫拉聖多明尼 哥博物館、艾美利亞—羅馬涅大區 切塞納Ex Pescheria畫廊、里米尼 Palazzo dell’Arengo展覽 「 Officina America」 悉尼雙年展

2003 高雄市立美術館展覽「網指之間 ──生活在科技年代」 北卡羅來納大學格林斯伯勒分校 Weatherspoon藝術博物館展覽 「 One Word: Plastic」 香港老火新炭展覽「1426 Showcase」

波士頓當代美術館展覽「Artists Imagine Architecture」 紐約新美術博物館展覽 「 Out of Site」 安大略美術館展覽 「 Provisional Worlds」 辛辛那提當代藝術中心展覽 「 Sprawl」

2001 舊金山現代藝術博物館展覽 「 01.01.01: Art in Technological Times」 溫哥華當代美術館展覽 「 Promises」 鹿特丹TENT視覺藝術中心展覽 「 Hemorrhaging of States」 倫敦Nylon畫廊展覽 「 Terra Incognita」

2000 ‘Plastika’, Govett-Brewster Art Gallery, New Plymouth, New Zealand ‘All Things Everything True’, CRG Gallery, New York ‘Pleasure Treasure: Recent Acquisitions from the Collections of Eileen and Peter Norton’, Art Gallery, Luckman Fine Arts Complex, California State University, Los Angeles ‘Car Pooling from LA’, Asian American Arts Centre, New York

Education

Academic Positions

1993–1996 Master of Fine Arts, ArtCenter College of Design, Pasadena, California

2001–ongoing Faculty, and Co-Director (from 2011–2014), Program in Art, School of Art, California Institute of the Arts, Santa Clarita

1987–1993 Bachelor of Arts, Chinese University of Hong Kong 1990–1991 Education Abroad Program, University of California, Berkeley Awards

1999 ‘After the Gold Rush’, Thread Waxing Space, New York

2014, 2008 Nominated for Joan Mitchell Foundation Grant

‘Stuff’, TBA Exhibition Space, Chicago

2013 Nominated for Anonymous Was A Woman Award

‘LA Projects’, De Parel, Amsterdam 1998 ‘Multiplicity’, W139, Amsterdam ‘POLYSEMY™’, curated by Shirley Tse, Shoshana Wayne Gallery, Santa Monica, California ‘In the Polka Dot Kitchen’, Armory Center for the Arts, Pasadena, California 1997 LACE Annuale, Los Angeles Contemporary Exhibitions ‘Bastards of Modernity’, Angles Gallery, Santa Monica, California 1996 ‘HITS Series’, Teststrip, Auckland ‘Lotus Motel’, Lotus Motel, Inglewood, California 1994 ‘FAR Bazaar’, for Marlo Contesti Restorations, Bingo Building, Los Angeles

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2012 California Community Foundation Fellowship for Visual Artists (Mid-Career Award) 2009 John Simon Guggenheim Memorial Foundation Fellowship 2009 City of Los Angeles Individual Artists Fellowship 2001 Durfee Foundation Artist Resources for Completion Grant 2001 Nominated for Louis Comfort Tiffany Foundation Grant 1998, 1999 Nominated for Citibank Emerging Artist Award, Museum of Contemporary Art, Los Angeles

2006, 2008 Visiting Critic, Yale School of Art, New Haven, Connecticut 2004–2005 Visiting Faculty, Claremont Graduate University, California 1999–2000 Lecturer, Northwestern University, Evanston, Illinois

2000 紐西蘭新普利茅斯Govett-­ Brewster美術館展覽「Plastika」 紐約CRG畫廊展覽「All Things Everything True」 洛杉磯加州州立大學Luckman Fine Arts Complex畫廊展覽 「 Pleasure Treasure: Recent

Acquisitions from the Collections of Eileen and Peter Norton」

紐約Asian American藝術中心展 覽「Car Pooling from LA」

1999 紐約Thread Waxing Space展覽 「 After the Gold Rush」 芝加哥TBA展覽空間展覽「Stuff」 阿姆斯特丹De Parel展覽 「 LA Projects」

1998

阿姆斯特丹W139展覽 「 Multiplicity」 加州聖塔莫尼卡Shoshana Wayne 畫廊展覽「POLYSEMY™」， 由謝淑妮策展 加州帕薩迪納軍械庫藝術中心展覽 「 In the Polka Dot Kitchen」

1997 洛杉磯當代展覽中心展覽 「 LACE Annuale」 加州聖塔莫尼卡Angles畫廊展覽 「 Bastards of Modernity」

1996

奧克蘭Teststrip展覽 「 HITS Series」 加州英格伍德Lotus Motel展覽 「 Lotus Motel」

1994

洛杉磯Bingo Building展覽「FAR Bazaar」，為Marlo Contesti Restorations成員之一

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學歷

1993–1996

學術職位

帕薩迪納藝術中心設計學院藝術碩士

2001至今

1987–1993

加州藝術學院藝術課程教員、聯席 總監（2011–2014）

香港中文大學藝術系文學士

1990–1991

2006、2008 耶魯大學藝術學院訪問評論家

加州大學柏克萊分校海外教育計劃

2004–2005 克萊蒙特研究生大學訪問學人 獎項

2014、 2018 獲提名Joan Mitchell基金會資助獎 2013

獲提名Anonymous Was A Woman獎

2012 加州社區基金會視覺藝術家獎助金 （職涯中期獎）

2009 古根漢紀念基金會獎助金

2009 洛杉磯市個人藝術家獎助金

2001 Durfee基金會Artists Resources for Completion資助獎 2001

獲提名Louis Comfort Tiffany基 金會資助獎

1998、1999 獲提名洛杉磯當代藝術博物館花旗 銀行新進藝術家奬

1999–2000 西北大學講師

All works by Shirley Tse are © the artist. Unless otherwise noted, all photos are courtesy the artist.

Cover, back cover, and flaps, 1–16, 57–58 (top), 59–62, 85–94, 99–100, 101–102 (bottom), 125–128, 133–146, 149–154, 157–158, 161–162, 167–172, 189–192, 193–194 (top): Commissioned by M+, Hong Kong, 2019. Photo: j.schwartz 29, 30 (top): Collection of Georgianna Sayles Aldrich Fund, 2003, 2008.61 29, 30 (bottom): Shoshana Wayne Gallery, Santa Monica, California and the artist 33–36, 51, 52, 57–58 (bottom), 101–102 (top), 109–110, 115–120, 123–124, 155–156, 159–160, 175–178, 179–180 (top), 181–184, 193–194 (bottom), 205–206: Shoshana Wayne Gallery, Santa Monica, California and the artist. Photo: Gene Ogami 37–40, 113, 114: Photo: Fredrik Nilsen 41, 42: M+, Hong Kong. Gift of the artist, 2013. 2013.15.

Photo: Gene Ogami 43, 44, 47, 48: Photo: Gene Ogami 49, 50: Photo: Monica Nouwens 53–56, 65–80, 83–84, 95–98, 129–132, 179–180 (bottom): Commissioned by M+, Hong Kong, 2019. Photo: Joshua White

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173, 174: Photo: Capp Street Project, the Wattis Institute for Contemporary Arts, California College of the Arts, San Francisco 197–199, 201, 203–204, 207–212, 245–260: Photo: j.schwartz 200: “You haven’t taught until you see the light bulb in their eyes light up”, ‘ArtReview’ 54, no. 7 (July/August 2003).

Courtesy ‘ArtReview’, London 202: ‘Shirley Tse: Shirley Tse: Sink Like a Submarine’, ‘Artforum’ ad, 2007 223–228: A longer version of this text was published in ‘Akademie X: Lessons in Art + Life’

by Phaidon Press in 2015 3D print files for ‘Negotiated Differences’: ‘Every rod connector 3.0’

by CaptnBlynd, used under CC BY 3.0, customised by Containerterminal. ‘Platonic Solid Vertices’ by WilliamA­ Adams, used under CC BY 3.0, customised by Containerterminal. ‘Flange mount towel, rail holder’ by ShuttleSpace, used under CC BY 3.0, customised by Containerterminal Visual essay captions are excerpted from: Artist talk, ‘Vital Organs: From Plasticity to Negotiation’ 20 October 2011, Rocky Mountain College of Art + Design (RMCAD), Denver, Colorado.

“Ask Shirley” artist Q&A with Tyler Calkin and Josh Segura, ‘Intimacies: 2011 California Institute of the Arts MFA Graduate Exhibition catalogue’, 47–52

全部作品版權歸藝術家謝淑妮所有。 除特別列明，照片均由藝術家提供。

173、174：

封面、封底、摺頁、1–16、 57–58（上）、59–62, 85–94、 99–100、101–102（下）、 125–128、133–146、149–154、 157–158、161–162、167–172、 189–192、193–194 （上）： 作品由M+， 香港於2019年 委約創作，攝影：j.schwartz

Capp Street Project

29、30（上）： Georgianna Sayles Aldrich 基金會，2003年，2008.61

攝影：三藩市加州藝術學院 Wattis當代藝術研究所

197–199、201、203–204 、207–212、245–260： 攝影：j.schwartz 200： 〈You haven't taught until you see the light bulb in their eyes light up〉，《ArtReview》， 第54卷，第7期（2003年7／8月 號），圖片由倫敦《ArtReview》 雜誌社提供，攝影：j.schwartz

29、30（下）： 加州聖塔莫尼卡Shoshana Wayne 202： 畫廊及藝術家 「謝淑妮：

Sink Like a Submarine」展覽廣告，刊於 33–36、51、52、57–58（下）、 《Artforum》雜誌，2007年 101–102（上）、109–110、 115–120、123–124、155–156、 223–228： 159–160、175–178、 全文載於Phaidon Press Ltd於 179–180（上）、181–184、 2015年出版的《Akademie X: 193–194（下）、205–206： Lessons in Art + Life》 加州聖塔莫尼卡Shoshana Wayne 畫廊，攝影：Gene Ogami 《Negotiated Differences》的 3D打印文件： 37–40、113、114： 「 Every rod connector 3.0」由 攝影： Fredrik Nilsen CaptnBlynd建模，按照CC BY 3.0 授權條款的指定方式來使用， 41、42： 由Containerterminal客製修改。 M+，香港，藝術家捐贈， 「Platonic Solid Vertices」由 年， ， 2013 2013.15 WilliamAAdams建模，按照 攝影：Gene Ogami CC BY 3.0 授權條款的指定方式來 使用，由Containerterminal客製 43、44、47、48： 修改。「Flange mount towel, 攝影：Gene Ogami rail holder」由ShuttleSpace 建模，按照CC BY 3.0 授權條款的 49、50： 指定方式來使用，由Container­ 攝影：Monica Nouwens terminal客製修改。 53–56、65–80、83–84、95–98、 129–132、179–180（下）： 作品由M+，香港於2019年 委約創作，攝影：Joshua White

影像論文的圖注節選： 藝術家講座「Vital Organs: From Plasticity to Negotiation」， 2011年10月20日，科羅拉多州落基 山藝術與設計學院 〈Ask Shirley〉，藝術家與 Tyler Calkin 及 Josh Segura的 問答往來，《Intimacies: 2011

California Institute of the Arts MFA Graduate Exhibition catalogue》，頁47–52

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This publication accompanies the exhibition ‘Shirley Tse: Stakeholders, Hong Kong in Venice’, 11 May–24 November 2019, produced by M+, West Kowloon Cultural District, and co-­presented by M+, West Kowloon Cultural District, and Hong Kong Arts Development Council.

The Exhibition Co-Commissioners Victor Lo Chung-wing, Chairman, M+ Board, West Kowloon Cultural District Authority Wilfred Wong Ying-wai, Chairman, Hong Kong Arts Development Council Project Team of M+, West Kowloon Cultural District Curator Christina Li, Guest Curator Consulting Curator Doryun Chong, Deputy Director, Curatorial, and Chief Curator With Olivia Chow, Assistant Curator Maggie Yim, Curatorial Assistant Supported by Veronica Castillo, Deputy Director, Collection and Exhibition Keri Towler, Senior Registrar Olatz Irijalba Claramunt, Registrar, Exhibitions Moody Tang, Associate Registrar

Project Team of Hong Kong Arts Development Council Winsome Chow, Chief Executive Queenie Lau, Arts Development Director Hilda Ho, Arts Development Manager Kay Wong, Arts Development Officer The Working Group of Hong Kong Arts Development Council Chairman Chris Chan Members Caroline Cheng Andy Hei Indy Lee Kevin Leung Ellen Pau Paulo Pong Sara Wong Coordinator in Venice PDG Arte Communications The Catalogue Published by MPLUS MUSEUM LIMITED Contributors Evelyn Char Olivia Chow Chris Kraus Miwon Kwon Christina Li Shirley Tse Editors Christina Li Shirley Tse Managing Editor Olivia Chow Associate Editor Janine Armin Copy Editor Carmi Lam

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Editorial Support Andrew Goodhouse Lam Lap Wai Winny Leung Maggie Yim Zhong Yuling Translation Evelyn Char Luisa Ku Cecilia Kwan Design Geoff Han & Julie Peeters with Immanuel Yang Printer die Keure, Bruges, Belgium We would like to thank all the staff of the West Kowloon Cultural District Authority, Hong Kong Arts Development Council, and all other organi­sa­ tions and individuals involved in the project that made all aspects of ‘Shirley Tse: Stakeholders, Hong Kong in Venice’ possible.

ISBN: 978-988-78130-0-2 Printed in Belgium Published in Hong Kong All rights reserved. © 2019 the artist, the authors, the West Kowloon Cultural District Authority, and the Hong Kong Arts Development Council The artist would like to express her gratitude to the following: M+, in particular Christina Li and the curatorial team; the Hong Kong Arts Development Council; Shoshana Wayne Gallery, Santa Monica, California; the California Institute of the Arts, Santa Clarita; the Robert Fitzpatrick Endowed Chair; Jessica Bronson; Jinseok Choi; Anna Masdottir; Josette Chiang; Ivan; and her family, especially her husband Todd Richmond.

本展覽圖錄是西九文化區 M+ 為配 合「謝淑妮：與事者， 香港在威尼 斯」（2019年5月11日至11月24日） 而編製。展覽由西九文化區 M+ 和 香港藝術發展局合辦。 展覽 主辦機構代表 西九文化區管理局博物館委員會主席 羅仲榮 香港藝術發展局主席 王英偉

西九文化區M+項目團隊 策展人 客席策展人 李綺敏 顧問策展人 副總監及總策展人 鄭道鍊

香港藝術發展局項目團隊

編輯協力

Andrew Goodhouse 行政總裁 周蕙心 藝術發展總監 劉慧寧 藝術發展經理 何敏婷 藝術發展主任 黃展麒

林立偉 梁雅婷 嚴嘉琪 鍾玉玲

香港藝術發展局工作小組 主席 陳錦成 成員 鄭禕 黑國強 李俊亮 梁崇任 鮑藹倫 龐建貽 黃志恆

翻譯 查映嵐 顧玥 關小春 設計

Geoff Han & Julie Peeters 及Immanuel Yang 印刷 比利時布魯日die Keure

與 助理策展人 周宛昀 策展助理 嚴嘉琪

PDG Arte Communications 圖錄

我們謹此感謝西九文化區管理局與 香港藝術發展局的全體同事，以及 其他參與「謝淑妮：與事者， 香 港在威尼斯」項目的機構和個別人 士，有賴各位鼎力支持，展覽得以 圓滿舉行。

協力 副總監（藏品及展覧）

出版

ISBN: 978-988-78130-0-2

威尼斯統籌

MPLUS MUSUEM LIMITED

比利時印製 香港出版

Veronica Castillo 資深藏品管理主任

Keri Towler 藏品管理專員（展覽）

Olatz Irijalba Claramunt 副藏品管理專員 鄧夢茵

作者 查映嵐 周宛昀

Chris Kraus 權美媛 李綺敏 謝淑妮 編輯 李綺敏 謝淑妮 執行編輯 周宛昀 副編輯

Janine Armin 審稿 林嘉敏

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版權所有翻印必究。版權屬藝術 家、作者、西九文化區管理局及香 港藝術發展局所有©2019 藝術家向下列人士和團體致以深摯 謝忱：李綺敏、M+的策展團隊及全 體同仁、香港藝術發展局、加州聖 塔莫尼卡Shoshana Wayne畫廊、 聖塔克拉利塔加州藝術學院、 Robert Fitzpatrick冠名教授席計 劃、Jessica Bronson、Jinseok Choi、Anna Masdottir、Josette Chiang、Ivan，以及其家人， 尤其是丈夫Todd Richmond。

The terms can shift when one’s perception of the relation shifts.

因為這些條件會隨着一個人對關係的認知而改變。