什麼是深圳人？2022年6月25日於香港中文大學（深圳）大學藝術中心TC101 SPACE落幕的個展-《簕杜鵑》中，譚荔潔作出了她的回答。
譚荔潔-《簕杜鵑Bougainvillea》 展覽現場的留言本
《簕杜鵑 Bougainvillea》 展覽海報
深圳，生活在這所包羅萬象的都市中，人們常說這裡沒有好吃的、好玩的、正宗的、地道的。 虛浮的華麗外表下，忙裡偷閒打卡 「xx最火的餐廳/展覽/酒吧終於開來深圳啦」之餘， 工作、讀書、成長、戀愛……各種各樣的故事分明隨時上演著。
深圳的溫度和內涵，或許只是缺乏一扇懂它的窗口，通過藝術的手段呈現出來——這成了藝術家/深圳人譚荔潔近年藝術實踐的側重點。
跳脫出過往自我的身份探索與抽象的影像媒介，在這場代表個人的展覽——《簕杜鵑》中，譚荔潔大量選用了與人們產生共鳴的符號： 簕杜鵑、紙船、光影、鹽巴、高樓、二線關、拍立得、絲線……實現個體家庭向公共經驗的轉換，譜寫出專屬每個深圳人的情感樂章。
「這些曾經飄在她幼年記憶中的植物，這些沉默不語的觀察者，當回憶的風掠過它們的花葉，猶如掠過載滿音符的琴弦，往昔慢慢地蕩漾開來，新的吟唱也隨將開始……」
——《簕杜鵑》 前言
譚荔潔與母親 攝於1992年，深圳
《簕杜鵑》展覽現場
簕杜鵑（Bougainvillea），或三角梅，是許多城市的市花，例如深圳。拖著行李箱、踏上這所陌生城市，簇擁的簕杜鵑花總在第一時間映入眼帘。這種花其實不像花，起碼不像人們從花店買回家擺弄插瓶的那種。除去嫣紅的顏色，它似乎沒有嬌嫩的花瓣，反而像是披著花的「外衣」，以綠葉的形態更加 頑強生長。
譚荔潔介紹道：其實人們印象中的「粉葉子」是簕杜鵑的花萼，中間被小心呵護包裹著的脆弱的小白花，才是它真正的花朵。人工手段對自然事物的反覆再現貫穿整個展覽，體現了城市中二者的反差與共存，從而激發每一位深圳人的傾訴。
展覽發生在香港中文大學的深圳校園內，主要面向學生觀眾——在思鄉與追夢、自由與安家間彷徨的年輕人們。觀看譚荔潔對深圳尚未輝煌的過去所呈現的藝術，他們或許尚未意識到，自己正手握未來。
譚荔潔提到，該校區沒有藝術專業，在沒有導覽的情況下，經濟學科、理工科的同學們卻紛紛流露感性，將親身體會 精準融入解讀。 正如《簕杜鵑》入口處留言本上一樣，觀者們不約而同畫下的心中的簕杜鵑，花瓣或花萼，都是輕盈又細碎的夢，相互連結著一個共同的夢。
《簕杜鵑Bougainvillea》 留言本
觀者們不約而同畫下的「簕杜鵑」
步入展廳，便進入了藝術家譚荔潔精心設計的旅程。她對觀看的掌控甚至精確到光影：展廳四周玻璃牆上貼滿了雙面的色紙，隨著日照的變換，為每一件作品蒙上波光粼粼的霞衣。
五顏六色的糖紙裁剪成動物形狀： 香港瘰螈、南氏蜘蛛、紅耳鴨……這些都是除了加班和搞錢的 「打工人」外，同樣生活在這座城市的瞬息萬物。至此，觀者很難想像這座展廳過往沒有顏色的樣子，《流轉中的橫崗墟》更像是為深圳上色，還原它早該有的面貌。
《流轉中的橫崗墟》 尺寸可變，2022
《流轉中的橫崗墟》 細節
作為一名「深二代」，譚荔潔對深圳的了解絕不僅限於「鄧小平爺爺在地圖上畫了個圈」」。為了完美呈現此次展覽，她搜羅了各種歷史資料：無論是簕杜鵑被法國植物學家男扮女裝的隨從發現、並由海軍姓氏命名的背景，疍家漁民口口相傳的航海捕魚事項，早在漢武帝時期就已興旺的深圳鹽場，梧桐山上奔波生計的人群，還是大大小小的檢查站和關口的位置……她都能娓娓道來。
《鹽田浮家》，《光，此在》，《簕杜鵑的故事——媽媽的姿態》和《簕杜鵑的故事——花有自己的家》中，都能看見譚荔潔經歷了國美跨媒體學院的深造後，對於 媒介與材料的不斷嘗試。更特別的是，她將大量的手工感賦予自己的作品中，令觀者隨時透過精巧的痕跡與具象的符號，在腦海中構圖這位女藝術家 恬靜、柔美的情緒。譚荔潔也始終通過絲線，或更加曖昧不清的流水，串聯符號。作品之間的相互呼應，生動營造了感官的盛宴。
《鹽田浮家》，紙船、鹽、漁網、粘土，尺寸可變，2022
經過連綿幾周的「龍舟水」，
細碎的鹽粒結成塊，附著在手工紙船的表面。
鹽巴從縫隙中濾出，意外在展廳的地板上開出朵朵小花：
《鹽田浮家》 細節
左：《簕杜鵑的故事——媽媽的姿態》，5.3x7.3/9cm x16，2022
右： 《光，此在》，20.3x25.4cm x10，2022
抹去了CBD大廈原有的氣派，藝術家透過不同畫幅的黑白膠片，單純記錄下大同小異的樓宇圖像，然後將在郊外偶然捕捉的動物們疊加上去，曝光在鋪滿鹽粒的相紙上。
童趣又繁瑣的工作的背後，是她對沖洗和曝光的不斷試錯。尤其是那三隻排隊過馬路的黃鼠狼，僅存的輪廓如黑影掠過一般漂浮在被遮擋的天空中。這種拼貼的手法，開玩笑地實現了 「關內歐洲，關外非洲」的 「大一統」。
三隻排隊過馬路的黃鼠狼被沖洗在CBD大樓上：
譚荔潔-《光，此在—黃鼠狼》
銀鹽攝影、伊爾福紙基、暗房放大，25.4x20.3cm，2022
同樣的趣味反差在《漫長的圈》系列亦有呈現:
譚荔潔-《漫長的圈-𨑨迌桂圓路4》
銀鹽膠片，數碼輸出，60x60cm，2017-22
動物們成群結隊跑來翻垃圾吃，背後屬於人類的「食堂」二字搖搖欲墜，由此可以窺探拍攝者心中的暗黑童話。
《漫⻓的圈-鹽排檢查站2》
銀鹽膠片，數碼輸出，50x75cm，2022
《漫⻓的圈-鹽排檢查站2》 細節
譚荔潔的母親曾在邊檢站工作。趕上了「大遷徙」的浪潮，幼時的譚荔潔時常坐在狹窄的站台里，透過窗口觀察來來往往進出關的人。
濕熱的南方天氣下，來往人群汗流浹背、在金屬圍欄間穿梭的味道，與身穿幹練制服、認真工作的媽媽相互平行在記憶中，延伸出了兩組截然不同的作品：
即顯的簕杜鵑圖案上，譚荔潔挑選不同顏色的絲線、配合噴繪不同顏色的相框，在拍立得相紙上縫出母親的輪廓與姿態，裝扮、裝裱。
簡潔的針腳間沒有過多刻畫，觀者卻能輕易浮想母親溫柔的眉眼。
《簕杜鵑的故事——媽媽的姿態-1、2&16》
即顯相紙、縫紉線、手工漆噴於鋁合金框，50x75cm，2022
《簕杜鵑的故事——媽媽的姿態-2》 細節
鐵皮「邊檢站」則鑄成了譚荔潔幼時陪媽媽上班的世界，坐落展廳中央，運送觀展的人群；亦提供歇腳，雙面螢幕循環播放著《簕杜鵑》同名小電影。
《簕杜鵑》展覽現場的鐵皮「邊檢站」
影像是譚荔潔最熟悉不過的媒介，而這部專門製作的定格動畫分外溫暖—— 由藝術家的大舅二舅配音， 《城市畫報》的頁面上孩童似的塗鴉，敘述了一對來深圳特區打工的兄弟過關的故事。
《簕杜鵑》截圖
單屏影像、彩色、有聲、HD，12min，2022
藝術家譚荔潔在留言本上的回答
影片的最後，兩兄弟化作簕杜鵑花飄向遠方，為漫長的淘金之路划下開放性結局。就像鄧一光曾寫道：「花有自己的家」，厚厚的花泥被來去匆匆的腳印壓牢，燦爛也憂傷。
《簕杜鵑的故事——花有自己的家-3》 61 × 51cm，2022
伊爾福紙基相紙，手工放大，縫紉線，手工漆噴於鋁合金框
展覽最後，譚荔潔以《光，此在》燈箱收尾，展示自己在暗房潮濕的紅光里「崩潰」的工作痕跡。
「暗房對於絕大多數人只是考驗操作技能是否熟練的地方，與我而言，卻是一場繪畫實踐：別人拿的是畫筆顏料，我擁有光與影。照片由記錄性工具衍生為想像空間的引導，在紅陰陰、濕漉漉的子宮裡孕育著靈光。」
譚荔潔-《官富鹽場的光學裝置-2》
綜合材料，36.5 × 24.7cm，2022
《簕杜鵑》展覽現場
切割成水滴狀的紅色玻璃，不僅還原了暗房的燈光，更與包裹著整個展覽的玻璃紙們相呼應。血滴背後隱藏的暴力美學，再一次暗示了 美夢易碎 🩸
展覽《簕杜鵑》凝固了人們在慌亂中尋找的精神家園。飛舞的簕杜鵑毫無保留飄向你的同時，又該如何生根？美夢背後，還含著許多欲言又止的滄桑。
「每一個『我』都是歷史中的個體，不同的時空、歷史、現實、記憶一層層的交疊在『我』身上，『我』在這無數關係中，內在於這個共同點、遼遠古老的海洋；這個過去的、未來的、不斷行程中的海洋。」
藝術家譚荔潔在《簕杜鵑》展覽現場
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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
關於藝術家
About the Artist
譚荔潔，1991年生於深圳，於2010年至2017年就讀於中國美術學院跨媒體藝術學院，獲得藝術碩士學位；2015年被校推薦赴倫敦金士頓大學藝術與設計學院學習。現生活工作於深圳。作為視覺藝術家，譚荔潔以其獨特的視角將影像的現實和對當下的思考結合，運用動物、植物、夢境、符號來血肉模糊的思考事情，通過影像創造一段懸置的時刻。她長期關注這個社會生活中終年被霧籠罩的地方，思考整個高速發展的陽性社會中無法割裂的附屬。
她所參與的展覽包括：個展：《簕杜鵑》，香港中文大學（深圳）。群展：中德實驗影像交流展，德國卡塞爾格林兄弟博物館、羅中立獎學金入圍展，四川美術學院、荒廢的觀察者-「舉重若輕」藝術電影展第十三季，深圳華僑城創意文化園、教學相長——第三屆學院實驗藝術文獻展，北京中央美術學院、新中國/新藝術：滬杭兩地當代影像展，英國諾丁漢大學、北京第十屆獨立電影節、巴黎青年短片電影節、奧地利林茨電子藝術節等等。她入圍了2018年華宇青年藝術獎；31分鐘的短片《熱帶地區的鄂圖曼》入圍德國漢諾瓦Up and Coming電影節國際競賽單元，影像作品《世界》曾獲香港第十屆大學生電影節「最佳創意獎（劇情）」，《熱帶地區的鄂圖曼》被澳大利亞白兔美術館收藏；攝影作品《未命名的身體》等被浙江攝影出版社出版《浙江新攝影: 無盡的勘探和命名》。
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
找尋城市被遺忘的角落丨譚荔潔：熱帶神遊放映及映後談回顧
飛地觀影會丨譚荔潔：熱帶神遊放映及映後談
藝術家和飛地藝術空間
特別鳴謝：香港中文大學（深圳）
大學藝術中心 TC101 SPACE
以上內容由飛地藝術空間綜合整理彙編
撰文 | 翻譯：王海納
攝影 | 排版：王海納
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Shadow Boxing
蔣小余 Jiang Xiaoyu
展期 Duration
2022.6.5-7.16
深圳市南山區華僑城創意園北區B4棟1樓東
1F East, B4, North District, OCT-LOFT, Nanshan District, Shenzhen Guangdong, China
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作為飛地品牌旗下的全新畫廊，飛地藝術空間ENCLAVE CONTEMPORARY立足中國大灣區深圳，以輸出開創性的展覽與內容為核心己任，與今天的藝術家和觀眾共同探討全球語境和背景下的當代藝術如何參與社會與時代的激變和革新。除了為充滿活力與獨創性的藝術家們提供持續專業的代理、推廣與學術研究工作，飛地藝術空間也將積極為全球視野下的藝術機構與收藏家提供具有建設性和前瞻力的諮詢與服務。
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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