Hong Kong

Encounters 2023

<p><span style="font-size: 24px;"><em style="background-color: initial;">Fountain: Night Garden<br /></em>《噴泉：夜晚花園》<br /></span><span style="font-size: 24px;">2020</span></p>

Kiang Malingue 馬凌畫廊

Nabuqi 娜布其

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粵語

<p>Born 1984 in Inner Mongolia<br />Lives and works in Beijing</p><div>1984 年生於內蒙古<br />現於北京生活及工作</div>

<p><span style="font-size: 16px;"><em style="background-color: initial;">Fountain: Night Garden<br /></em>2020<br />Overall: 4 x 7 x 6 m ; Fountain: approx. 2.2 x 5 x 5 m; Mannequin: 1.85 x 0.55 x 0.45 m; Curtain: 4 x 3 m, dimensions variable<br />Stainless steel, PVC cloth, water spray device, dust screen, fiberglass, print on cloth, LED lights, ropes</span></p><p><span style="font-size: 16px;"></span></p><p>Nabuqi bends our optics of reality, assembling ready-made items into poetic and political spatial stages. She investigates what we perceive as real, and the psychological nature of how we engage with objects and materials. For Art Basel Hong Kong, the artist presents a new iteration of her installation, <em>Fountain: Night Garden</em>, a theatrical mise-en-scène. The large fountain is wrapped in a PVC tarp, as if out of commission or under renovation. Yet, paradoxically, it continues to spill water. The idiosyncratic, anti-monumental nature of the cascade transforms this public infrastructure&mdash;often a majestic symbol of authority&mdash;into a set of complex material relations. Beside the fountain stands a replica of a classical Greek sculpture, shrouded in fabric that has been printed with three images: a 3D model of a fountain, an urban fountain, and a natural geyser in Yellowstone National Park. Within this realm of reproductions, the artist alludes to the multiplying of form and shifting of function over time. She destabilizes and transforms how we perceive what is in front of us now, what it was before, and what it will be in the future. </p><p>Nabuqi’s works range from handmade sculptures to installations made from assembling readymades, in which there is a pull for the viewer to engage with detail and context, and to be attuned to and reflect upon the spectrum between artificial and actual. As such, Nabuqi creates realms that prompt our understanding of the world around us and engage us in a play of spatial politics.</p><p><span style="font-size: 16px;">《噴泉：夜晚花園》<br />2020<br />整體：4 x 7 x 6 米；噴泉：約 2.2 x 5 x 5 米； 雕像：1.85 x 0.55 x 0.45 米；布簾：4 x 3 米，</span>尺寸可變<br /><span style="background-color: initial; font-size: 16px;">不銹鋼、PVC布、噴水裝置、防塵網、</span>玻璃鋼、布上圖片打印、LED燈、繩索</p><p><span style="font-size: 16px;"></span></p><p>娜布其扭曲我們對現實的看法，將現成的物件組成富詩意並帶政治性的舞台。她研究我們所認為的真實，以及我們與物件和物料互動的心理本質。娜布其為巴塞爾藝術展香港展會展示了她最新版本的大型裝置《噴泉：夜晚花園》。這是一個劇場化的場面調度。大型的噴泉以PVC防水布包裹，彷彿已經停用或者正在翻新，但矛盾的是噴泉仍然繼續噴水。這種串連不尋常和反紀念碑式的特性將通常象徵權力的公共基建轉化為一組複雜的物質關係。噴泉的旁邊豎立了一座古典希臘雕像複製品，覆蓋著一塊布料，上面印有作品中噴泉的三維模型、一個城市中的噴泉及黃石國家公園的天然間歇泉三個圖案。在重組的過程，藝術家暗示了形式和功能隨著時間推移的培增和轉變。她粉碎並轉化我們對此刻、過去和未來的看法。</p><p>娜布其的作品類型從手工雕塑，到由現成物件組裝的裝置，其中總是有種讓觀眾著迷於參透細節和背後語境的吸引力，從而瞭解和反思虛擬與真實間的光譜。因此，娜布其創造了促使我們對周圍世界的理解，並讓我們參與空間政治遊戲的領域。</p>

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Nabuqi 娜布其

Kiang Malingue 馬凌畫廊

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