Untitled 未命名
温州 Wenzhou 2024
荧光剂，脚印 Fluorescent Pigment, Footprints
协作者：此次展览布展期间的所有参与者 Collaborators: All participants involved
in the exhibition’s installation process
尺寸可变 Dimensions Variable
在制鞋流水线中，荧光剂被广泛用于标记劳动的关键步骤和位置。这些痕迹在肉眼下不可见，仅在荧光灯的照射下才会显现。艺术家将这种隐形劳动的标记方式转化至美术馆场域，用以记录展览生成过程中幕后参与者的身体介入与劳动轨迹。观众手持手电筒，再次踱步于美术馆中的观展路径，重新审视他们无意间穿越的这件浸透劳动痕迹的作品，而其他作品之间的关系也因劳动痕迹的显露随之改变。
In the shoe production assembly line, fluorescent agents are widely used to mark key steps and positions in the labor process. These traces are invisible to the naked eye and only become visible under UV light. The artist transposes this method of marking invisible labor into the context of the art museum, using it to document the bodily involvement and labor trajectories of behind-the-scenes participants during the exhibition’s creation.
Visitors holding flashlights, retrace their steps along the exhibition route—unknowingly revisiting a work imbued with traces of labor. As these hidden marks are revealed, the relationships between the exhibited works shift as well, reconfigured through the visibility of labor.
前进的 后退的 Backwards （温州）
温州 Wenzhou 2024
单通道视频 Single Channel Video Installation
1小时5分 1h, 5min
前进的，后退的（温州）是我继伦敦、重庆和上海之后“行走练习”系列的最新迭代，延续了我对身体实践与空间诗学的探讨。
我规划了一条从工厂到美术馆的14.5公里行走路径，途径废弃工厂、未经修缮的瓯江河岸、正在建设的开发区、已拆除的鞋料市场、旧城区的小商品市场，最终抵达市中心的美术馆。我以倒着走的方式，携带生产线末端的鞋盒，从工厂进入美术馆，再将鞋盒放置在展台上。这段行走过程被记录并倒放剪辑，创造出一种视觉与时空感知的错位体验：我的身体看似前进，而周围的街道、人群与车辆却向相反方向滑动，形成介于“后退中的前进”和“看似前进的后退”之间的悖论式对峙。我通过行走，将城市空间在现代化进程中的物理与社会变迁转化为一种具身化的档案。当城市扩张至无法再以步行丈量的尺度，生产与消费的源头因不断脱节的距离而难以连接时，我用真实的肉身连结这些断裂，以此对工业速度的强制性节奏进行微弱的对抗。
Backwards (Wenzhou) is the latest iteration of Lishuang Xu’s ongoing Walking Practice series, following her previous works in London, Chongqing, and Shanghai. Continuing her exploration of bodily practices and the poetics of space, Xu adopts the method of walking backward while inverting the temporal flow of video footage. By orchestrating a disorienting interplay of visual and sensory perception, her body appears to move “forward,” while the surrounding streets, pedestrians, and vehicles glide in reverse, creating a paradoxical tension between “advancing in retreat” and “retreating in apparent advance.”
Wenzhou’s spatial identity arises from the confluence of its flourishing small-scale commodity economy and its entanglement with global diasporic networks. The city functions simultaneously as a point of departure for the circulation of goods and people and as a nexus of local production and transnational systems. Xu conceived a 14.5-kilometer walking route extending from a local shoe factory to the Hong Museum, traversing abandoned factories, the unrenovated banks of the Oujiang River, emerging construction zones, demolished shoe material markets, bustling small commodity markets, and finally, the vibrant city center.
Through the act of walking, Xu renders the spatial vitality and ruptures within Wenzhou’s urban fabric into an embodied archive. As urban expansion exceeds the scale navigable by foot, the growing disconnection between the sites of production and consumption becomes a symptom of spatial and social fragmentation. The artist employs her physical body as a medium to traverse and reconnect these ruptures, enacting a nuanced resistance to the imposed rhythms of industrial acceleration.
从工厂到美术馆 From Factory to White Cube （温州）
温州 Wenzhou 2024
18张照片墙面喷绘，墙面手绘 Wall Vinyl Print, Wall Painting
尺寸可变 Dimensions Variable
2024
瓯州市 EUR-OU-PEAN CITY
温州 Wenzhou 2024
霓虹灯，控制器 Neon Light, Controller
130 x 15 x 80 cm
《瓯州市》是一件跳闪的霓虹灯作品，源于我在温州街头的观察。我发现这座城市呈现出两种并存的面貌：一方面，市区建有欧洲街和各种仿欧式建筑，工业区中展现出对西方与自动化的追求；另一方面，老城区充满小商品市场与商铺，边缘地带则遍布家庭作坊。我用“瓯州市”三个字制作霓虹灯，让“瓯州”和“瓦市”来回跳闪。“瓯州”既象征温州作为现代城市的身份，也谐音“欧洲”；而“瓦市”作为地方小农经济的底色，则隐匿于城市繁华之下。