什么是深圳人？2022年6月25日于香港中文大学（深圳）大学艺术中心TC101 SPACE落幕的个展-《簕杜鹃》中，谭荔洁作出了她的回答。
谭荔洁-《簕杜鹃Bougainvillea》 展览现场的留言本
《簕杜鹃 Bougainvillea》 展览海报
深圳，生活在这所包罗万象的都市中，人们常说这里没有好吃的、好玩的、正宗的、地道的。 虚浮的华丽外表下，忙里偷闲打卡 “xx最火的餐厅/展览/酒吧终于开来深圳啦”之余， 工作、读书、成长、恋爱……各种各样的故事分明随时上演着。
深圳的温度和内涵，或许只是缺乏一扇懂它的窗口，通过艺术的手段呈现出来——这成了艺术家/深圳人谭荔洁近年艺术实践的侧重点。
跳脱出过往自我的身份探索与抽象的影像媒介，在这场代表个人的展览——《簕杜鹃》中，谭荔洁大量选用了与人们产生共鸣的符号： 簕杜鹃、纸船、光影、盐巴、高楼、二线关、拍立得、丝线……实现个体家庭向公共经验的转换，谱写出专属每个深圳人的情感乐章。
“这些曾经飘在她幼年记忆中的植物，这些沉默不语的观察者，当回忆的风掠过它们的花叶，犹如掠过载满音符的琴弦，往昔慢慢地荡漾开来，新的吟唱也随将开始……”
——《簕杜鹃》 前言
谭荔洁与母亲 摄于1992年，深圳
《簕杜鹃》展览现场
簕杜鹃（Bougainvillea），或三角梅，是许多城市的市花，例如深圳。拖着行李箱、踏上这所陌生城市，簇拥的簕杜鹃花总在第一时间映入眼帘。这种花其实不像花，起码不像人们从花店买回家摆弄插瓶的那种。除去嫣红的颜色，它似乎没有娇嫩的花瓣，反而像是披着花的“外衣”，以绿叶的形态更加 顽强生长。
谭荔洁介绍道：其实人们印象中的“粉叶子”是簕杜鹃的花萼，中间被小心呵护包裹着的脆弱的小白花，才是它真正的花朵。人工手段对自然事物的反复再现贯穿整个展览，体现了城市中二者的反差与共存，从而激发每一位深圳人的倾诉。
展览发生在香港中文大学的深圳校园内，主要面向学生观众——在思乡与追梦、自由与安家间彷徨的年轻人们。观看谭荔洁对深圳尚未辉煌的过去所呈现的艺术，他们或许尚未意识到，自己正手握未来。
谭荔洁提到，该校区没有艺术专业，在没有导览的情况下，经济学科、理工科的同学们却纷纷流露感性，将亲身体会 精准融入解读。 正如《簕杜鹃》入口处留言本上一样，观者们不约而同画下的心中的簕杜鹃，花瓣或花萼，都是轻盈又细碎的梦，相互连结着一个共同的梦。
《簕杜鹃Bougainvillea》 留言本
观者们不约而同画下的“簕杜鹃”
步入展厅，便进入了艺术家谭荔洁精心设计的旅程。她对观看的掌控甚至精确到光影：展厅四周玻璃墙上贴满了双面的色纸，随着日照的变换，为每一件作品蒙上波光粼粼的霞衣。
五颜六色的糖纸裁剪成动物形状： 香港瘰螈、南氏蜘蛛、红耳鸭……这些都是除了加班和搞钱的 “打工人”外，同样生活在这座城市的瞬息万物。至此，观者很难想象这座展厅过往没有颜色的样子，《流转中的横岗墟》更像是为深圳上色，还原它早该有的面貌。
《流转中的横岗墟》 尺寸可变，2022
《流转中的横岗墟》 细节
作为一名“深二代”，谭荔洁对深圳的了解绝不仅限于“邓小平爷爷在地图上画了个圈””。为了完美呈现此次展览，她搜罗了各种历史资料：无论是簕杜鹃被法国植物学家男扮女装的随从发现、并由海军姓氏命名的背景，疍家渔民口口相传的航海捕鱼事项，早在汉武帝时期就已兴旺的深圳盐场，梧桐山上奔波生计的人群，还是大大小小的检查站和关口的位置……她都能娓娓道来。
《盐田浮家》，《光，此在》，《簕杜鹃的故事——妈妈的姿态》和《簕杜鹃的故事——花有自己的家》中，都能看见谭荔洁经历了国美跨媒体学院的深造后，对于 媒介与材料的不断尝试。更特别的是，她将大量的手工感赋予自己的作品中，令观者随时透过精巧的痕迹与具象的符号，在脑海中构图这位女艺术家 恬静、柔美的情绪。谭荔洁也始终通过丝线，或更加暧昧不清的流水，串联符号。作品之间的相互呼应，生动营造了感官的盛宴。
《盐田浮家》，纸船、盐、渔网、粘土，尺寸可变，2022
经过连绵几周的“龙舟水”，
细碎的盐粒结成块，附着在手工纸船的表面。
盐巴从缝隙中滤出，意外在展厅的地板上开出朵朵小花：
《盐田浮家》 细节
左：《簕杜鹃的故事——妈妈的姿态》，5.3x7.3/9cm x16，2022
右： 《光，此在》，20.3x25.4cm x10，2022
抹去了CBD大厦原有的气派，艺术家透过不同画幅的黑白胶片，单纯记录下大同小异的楼宇图像，然后将在郊外偶然捕捉的动物们叠加上去，曝光在铺满盐粒的相纸上。
童趣又繁琐的工作的背后，是她对冲洗和曝光的不断试错。尤其是那三只排队过马路的黄鼠狼，仅存的轮廓如黑影掠过一般漂浮在被遮挡的天空中。这种拼贴的手法，开玩笑地实现了 “关内欧洲，关外非洲”的 “大一统”。
三只排队过马路的黄鼠狼被冲洗在CBD大楼上：
谭荔洁-《光，此在—黄鼠狼》
银盐摄影、伊尔福纸基、暗房放大，25.4x20.3cm，2022
同样的趣味反差在《漫长的圈》系列亦有呈现:
谭荔洁-《漫长的圈-𨑨迌桂圆路4》
银盐胶片，数码输出，60x60cm，2017-22
动物们成群结队跑来翻垃圾吃，背后属于人类的“食堂”二字摇摇欲坠，由此可以窥探拍摄者心中的暗黑童话。
《漫⻓的圈-盐排检查站2》
银盐胶片，数码输出，50x75cm，2022
《漫⻓的圈-盐排检查站2》 细节
谭荔洁的母亲曾在边检站工作。赶上了“大迁徙”的浪潮，幼时的谭荔洁时常坐在狭窄的站台里，透过窗口观察来来往往进出关的人。
湿热的南方天气下，来往人群汗流浃背、在金属围栏间穿梭的味道，与身穿干练制服、认真工作的妈妈相互平行在记忆中，延伸出了两组截然不同的作品：
即显的簕杜鹃图案上，谭荔洁挑选不同颜色的丝线、配合喷绘不同颜色的相框，在拍立得相纸上缝出母亲的轮廓与姿态，装扮、装裱。
简洁的针脚间没有过多刻画，观者却能轻易浮想母亲温柔的眉眼。
《簕杜鹃的故事——妈妈的姿态-1、2&16》
即显相纸、缝纫线、手工漆喷于铝合金框，50x75cm，2022
《簕杜鹃的故事——妈妈的姿态-2》 细节
铁皮“边检站”则铸成了谭荔洁幼时陪妈妈上班的世界，坐落展厅中央，运送观展的人群；亦提供歇脚，双面屏幕循环播放着《簕杜鹃》同名小电影。
《簕杜鹃》展览现场的铁皮“边检站”
影像是谭荔洁最熟悉不过的媒介，而这部专门制作的定格动画分外温暖—— 由艺术家的大舅二舅配音， 《城市画报》的页面上孩童似的涂鸦，叙述了一对来深圳特区打工的兄弟过关的故事。
《簕杜鹃》截图
单屏影像、彩色、有声、HD，12min，2022
艺术家谭荔洁在留言本上的回答
影片的最后，两兄弟化作簕杜鹃花飘向远方，为漫长的淘金之路划下开放性结局。就像邓一光曾写道：“花有自己的家”，厚厚的花泥被来去匆匆的脚印压牢，灿烂也忧伤。
《簕杜鹃的故事——花有自己的家-3》 61 × 51cm，2022
伊尔福纸基相纸，手工放大，缝纫线，手工漆喷于铝合金框
展览最后，谭荔洁以《光，此在》灯箱收尾，展示自己在暗房潮湿的红光里“崩溃”的工作痕迹。
“暗房对于绝大多数人只是考验操作技能是否熟练的地方，与我而言，却是一场绘画实践：别人拿的是画笔颜料，我拥有光与影。照片由记录性工具衍生为想象空间的引导，在红阴阴、湿漉漉的子宫里孕育着灵光。”
谭荔洁-《官富盐场的光学装置-2》
综合材料，36.5 × 24.7cm，2022
《簕杜鹃》展览现场
切割成水滴状的红色玻璃，不仅还原了暗房的灯光，更与包裹着整个展览的玻璃纸们相呼应。血滴背后隐藏的暴力美学，再一次暗示了 美梦易碎 🩸
展览《簕杜鹃》凝固了人们在慌乱中寻找的精神家园。飞舞的簕杜鹃毫无保留飘向你的同时，又该如何生根？美梦背后，还含着许多欲言又止的沧桑。
“每一个‘我’都是历史中的个体，不同的时空、历史、现实、记忆一层层的交叠在‘我’身上，‘我’在这无数关系中，内在于这个共同点、辽远古老的海洋；这个过去的、未来的、不断行程中的海洋。”
艺术家谭荔洁在《簕杜鹃》展览现场
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A Shenzhen Dream in Bougainvillea's Color
How to define a Shenzhenese? In Tan Lijie’s latest solo exhibition Bougainvillea in TC101 SPACE, CUHK(Shenzhen), 2022.5.1-6.25, you can see her answer.
In this city welcoming diversity, people always find Shenzhen is lack of local culture. Life and entertainment is no more than searching and visiting the latest opening restaurants/bar/exhibition from social media. However, it is undeniable that work and study, growth and struggle, heartbreak and romance…all kinds of stories are simultaneously happening there.
Perhaps the warmth and depth of Shenzhen is just waiting for someone who really understand. In order to visualize such concern into visual arts——Tan Lijie came back to Shenzhen after graduating from China Academy of Art; and starts to re-discover the city where she grew up in into artistic practices.
Jumping out from her past exploration of identity through the abstract experimental films, she uses abundant symbolisms in this solo exhibition: Bougainvillea, paper boat, light, salt, buildings, immigration stations, polaroids, threads…the transformation from individual family to the public experience composes a Shenzhen-exclusive symphony.
"These bougainvillea were plants fluttering in the memory of her childhood, these silent observers. As the wind of memory glides over their leaves like a string of musical notes, the past slowly ripples and new slinging begins. ( Bougainville a , exhibition note)"
Bougainvillea is the city flower in many places, including Shenzhen. Once immigrants are coming to pursue their dreams, the luxuriant red Bougainvilleas are always the first one welcoming them. In fact, unlike most of the flowers we buy from a flower shop and put onto delicate vases, Bougainvillea does not have a spoiled petal. Instead of the stereotypically fragile flowers, it grows as tough as green leaves.
Bougainvillea , Exhibition Scene
Tan Lijie introduced that: the familiar “pink leaves” are actually Bougainvillea’s calyx. In the center, the actual small white flower is being well protected. Tan Lijie’s repeated manipulation of artificializing nature conveys the tension between contrast and symbiosis, which therefore stimulates every Shenzhenese’s response.
The exhibition happens in TC101 SPACE, CUHK (Shenzhen), majorly facing to student audiences. While learning Tan Lijie's display of Shenzhen's history, the past when it was not yet developed, these young generations may not realize that they are the future of this city. Tan Lijie mentions that most of the students there study Economics and Sience majors. However, without her explanation, they still totally get the idea of this exhibition with no pressure. Just like the Visitors Book in the entrance of Bougainvillea -viewers have coincidentally drawn a small Bougainvillea on the pages. Without necessarily knowing whether the pink leaves are calyx or flower, they are all simply expressing a genuine dream, linking to the bigger common dream.
Walking into the space, viewers are directed by the carefully designed journey from Tan Lijie. Her control over viewing even includes lighting: the double-sided color stickers on the surrounded walls, penetrated by the changing sunlight, are coloring all the interior artworks with a beautiful coat. These color stickers are cut into different species: Hong Kong warty newt, Ischnathyreus yueluensis, Pink-eared duck…providing another dimension of lives except for those hard-working people in this city. Enjoying the emotional lighting, viewers seldom realize it is also part of her art. Because her decoration on the originally transparent glass walls is more like a recovery.
As a second-generation Shenzhenese, Tan Lijie’s study of this young city is never limited by “Vice-Chairman Deng Xiaoping draw a circle on the map”. In order to perfectly present this solo exhibition, she has done and crystalized numerous historical materials and research: no matter the founding of Bougainvillea by the French botanist's female entourage and its naming from the admiral's surname, the fishing tips circulated among Tanka families, the prosperous salt industry in Shenzhen since Han Dynasty, or the exact locations of immigration stations…
Bougainvillea , Exhibition Scene
Within her study at School of Intermedia Art, Tan Lijie is always experimenting with different mediums and materiality. We see how she embodies her own gesture in Floating Home in Yantian , Light, Dasein , The Story of Bougainvillea——Mother's Posture and The Story of Bougainvillea——Flowers Had Their Own Homes . Viewers are provided with the traces of handwork and symbols, in order to picture the gentle, perceptual and feminine emotion of the artist. She enjoys blurring up the distinctions between materials, such as the different use of threads, to connect representations. In the exhibitioning space, each set of artwork are interrelated with together, constructing a vivid sensuous viewing experience.
Erasing the artificiality in th Centural Business Districts, the artist uses B&W analog to simply document the basically similar buildings. After that, she layered the animals randomly captured from rural areas, and exposedontosalts.
Behind this playful and childish working progress, she kept trying with development and exposure in the darkroom. Especially the three yellow weasels, lining up on the “top” of the building: their shadows are humorously sweeping on the covered sky. Collage somehow strategically "reunite" the divorced urban and rural areas.
Tan Lijie-《The Endless Circle》 60x60cm，2017-22
Silver film, digital output, wire netting
In front of human’s restaurant, animals are having a "big dinner", reflecting a dark fairytale in the artist's mind.
During the migrating stream, Tan Lijie’s mother used to work in the migration station. Spending her childhood there, Tan Lijie fell in love to observe the passing people. Shenzhen has the typical Southern humid climate. In Tan Lijie’s memory, mother’s careful face and handsome uniform is in parallel with the smell of sweat and rusted iron. This contradiction is developed into two different pieces.
In The Story of Bougainvillea——Mother's Posture , by using different color of threads and frames, Tan Lijie sewed mom’s gestures on polaroids. The notion of packing and decorating is definitely a nostalgia to childhood. From the simple depiction, viewers can easily imagine the gentle face of mother.
L：The Story of Bougainvillea-Mother's Posture-12
R：The Story of Bougainvillea-Mother's Posture-5
Shifting to the middle of the space, an iron house is imitating an immigration station, where little Tan formed her early understanding to this world. As the transition of viewing, it also offers a secure space for break. The short film, also titled Bougainvillea , is repeatedly screening on the double-sided screen. Film should be a familiar medium for Tan. But this one, unlike her past experimental performances, is much warmer. Featuring Stop Motion, the childish brushwork on the pages of City Zine narrates a story of two brothers immigration to Shenzhen. Tan answers in the Visitors Book that the voiceover of Hunan dialect is actually from her two uncles. In the end of the film, the two brothers are turned into flying Bougainvilleas, leaving their dream journey open-ended. Deng Yiguang has once written that "Flowers have their own home". When the free Bougainvilleas eventually fall on the ground, people’s busy footprints step on them.
Tan Lijie ends this exhibition by the light box version of Light, Dasein , unveiling her “overwhelming” working process in the darkroom.
Bougainvillea , Exhibition Scene
"For most people, the darkroom is a place to test their proficiency in operation skills; but for me, it is a place to practice painting: people take brushes and paints, while I have light and shadow. Photographs evolve from a tool for recording to a guide for imagination space, nourishing inspiration in a red, damp, and somber uterus. ( Bougainville a , exhibition note)"
She cut some red glasses into the shape of water drops, not only reenacting the dark red light inside darkroom, but also echoes with the colorful surrounding animal stickers together. Behind the bloody water drops, the aestheticized violence is suddenly maximized, which again suggests the fragility of the so-called dream.
Bougainvillea freezes people’s emotional longings for daydream under the chaotic reality. At the same time a Bougainvillea embraces you, how it should plant its root? Behind the ideal dream, there are too much unspoken suffers.
"Each “I” is an individual in history. Different layers of time, space, history, reality and memory overlap on “me”. “I” in these countless relations, lies in the common, distant and ancient ocean. ( Bougainville a , exhibition note)"
Bougainvillea , Exhibition Scene
关于艺术家
About the Artist
谭荔洁，1991年生于深圳，于2010年至2017年就读于中国美术学院跨媒体艺术学院，获得艺术硕士学位；2015年被校推荐赴伦敦金士顿大学艺术与设计学院学习。现生活工作于深圳。作为视觉艺术家，谭荔洁以其独特的视角将影像的现实和对当下的思考结合，运用动物、植物、梦境、符号来血肉模糊的思考事情，通过影像创造一段悬置的时刻。她长期关注这个社会生活中终年被雾笼罩的地方，思考整个高速发展的阳性社会中无法割裂的附属。
她所参与的展览包括：个展：《簕杜鹃》，香港中文大学（深圳）。群展：中德实验影像交流展，德国卡塞尔格林兄弟博物馆、罗中立奖学金入围展，四川美术学院、荒废的观察者-“举重若轻”艺术电影展第十三季，深圳华侨城创意文化园、教学相长——第三届学院实验艺术文献展，北京中央美术学院、新中国/新艺术：沪杭两地当代影像展，英国诺丁汉大学、北京第十届独立电影节、巴黎青年短片电影节、奥地利林茨电子艺术节等等。她入围了2018年华宇青年艺术奖；31分钟的短片《热带地区的奥斯曼》入围德国汉诺威Up and Coming电影节国际竞赛单元，影像作品《世界》曾获香港第十届大学生电影节“最佳创意奖（剧情）”，《热带地区的奥斯曼》被澳大利亚白兔美术馆收藏；摄影作品《未命名的身体》等被浙江摄影出版社出版《浙江新摄影: 无尽的勘探和命名》。
Tan Lijiewas born in Shenzhen in 1991. She studied in The Inter Media College in The China Academy of Art's from 2010 to 2017 and received her Master of Fine Arts degree in 2017. In 2015, as an exchange student, She went to the Kingston University to study in the art and design college in London. Now, she lives and works in Shenzhen. As a visual artist, Lijie combines the reality of the image with the thinking of the moment. She uses of animal, plant, dreams and symbols to badly mutilated thinking affair, creating a suspended moment through the image. Moreover, She has long been concerned about the place that is enveloped throughout in smog in social life, thinking about the subsidiary that unable separates from the whole fast growing and masculine society.
The exhibition she participated in included: Solo exhibition: Bougainvillea, The Chinese University of Hong Kong, Shenzhen. Group exhibition: The Direction of The Future Video Art / From The Past to The Anticipation, Hangzhou; Contemporary Photography in Zhejiang, Cipa Gallery, Beijing; Reciprocal Enlightenment, CAFA museum, Beijing; New China / New Art: contemporary video from Shanghai and Hangzhou, Nottingham University, United Kingdom.Her video The World got the Best Creative Award (drama) in Global Chinese University Student Film in 2012. Her short film Haussmann in the Tropics has been collected by the White Rabbit Gallery in 2017. Untitled body has been published by the Zhejiang Press on“ Contemporary Photography in Zhejiang: Endless exploring and creating ”.
Related Readings
找寻城市被遗忘的角落丨谭荔洁：热带神游放映及映后谈回顾
飞地观影会丨谭荔洁：热带神游放映及映后谈
艺术家和飞地艺术空间
特别鸣谢：香港中文大学（深圳）
大学艺术中心 TC101 SPACE
以上内容由飞地艺术空间综合整理汇编
撰文 | 翻译：王海纳
摄影 | 排版：王海纳
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正在展出
What's on
空 击
Shadow Boxing
蒋小余 Jiang Xiaoyu
展期 Duration
2022.6.5-7.16
深圳市南山区华侨城创意园北区B4栋1楼东
1F East, B4, North District, OCT-LOFT, Nanshan District, Shenzhen Guangdong, China
关于飞地艺术空间
About Enclave Contemporary
作为飞地品牌旗下的全新画廊，飞地艺术空间ENCLAVE CONTEMPORARY立足中国大湾区深圳，以输出开创性的展览与内容为核心己任，与今天的艺术家和观众共同探讨全球语境和背景下的当代艺术如何参与社会与时代的激变和革新。除了为充满活力与独创性的艺术家们提供持续专业的代理、推广与学术研究工作，飞地艺术空间也将积极为全球视野下的艺术机构与收藏家提供具有建设性和前瞻力的咨询与服务。
As a new gallery under the Enclave flagship, ENCLAVE CONTEMPORARY, based in Shenzhen, an essential integral of the Greater Bay Area of China, whose core mission is to produce ground-breaking exhibitions and contents that explores the way in which contemporary art practices engage in radical changes and innovation in a global context, with the artists and audience. In addition to providing ongoing professional representation, promotion, and academic research for dynamic and unique artists, Enclave Contemporary will also actively offer constructive and forward-looking advice and services to art institutions and collectors with a global perspective.
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