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No.1 (Lightbox with four birds) Wooden plate, paint, acrylic sheet, light box sheet, Led light panel 130x80x15cm 2022無論是被我們視作是真實(shí)的事物，還是我們與物件及物質(zhì)相作用過程的心理本質(zhì)，都是娜布其（1984年生于內(nèi)蒙古，現(xiàn)生活于北京）藝術(shù)創(chuàng)作的長(zhǎng)期主題。從手工塑造的雕塑作品，到應(yīng)用了大量現(xiàn)成物的裝置作品等，娜布其的藝術(shù)實(shí)踐一直牽引觀眾前去觀察細(xì)節(jié)及語境，去調(diào)節(jié)并考慮虛構(gòu)與實(shí)在之間的復(fù)雜關(guān)系。娜布其由此建立的領(lǐng)域強(qiáng)調(diào)我們對(duì)周遭世界的理解，并將我們引入關(guān)于空間政治的探索之中去。What we perceive as real, the psychological nature of how we engage with objects and material, are running threads throughout the works of Nabuqi (b. 1984 Inner Mongolia, lives Beijing). Ranging from handmade sculptures to installations made from assembling readymades, there is a pull for the viewer to engage with detail and context, 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.娜布其創(chuàng)作的核心概念即是由馬丁·海德格爾發(fā)展的「在場(chǎng)」現(xiàn)象學(xué)理念?，F(xiàn)象學(xué)是研究主觀人類意識(shí)結(jié)構(gòu)的學(xué)科，而海德格爾在《存在與時(shí)間》一書中指出，西方哲學(xué)思想使用的時(shí)間概念自亞里士多德《物理學(xué)》以降從未發(fā)生重大革新。海德格爾哲學(xué)發(fā)展的核心，即是嘗試去更為真實(shí)地理解時(shí)間，將時(shí)間視作是三種逸出態(tài)的集合：過去，當(dāng)下，以及未來。海德格爾口中的「在場(chǎng)」因此既意味著「當(dāng)下」的在場(chǎng)，也意味著一種類似基督教上帝或永在科學(xué)原則的永恒在場(chǎng)。A core notion permeating Nabuqi’s work is that of 'presence’ as developed by Martin Heidegger in his writings about phenomenology, understood as the study of structures of consciousness as experienced from the first-person point of view. In Being and Time (1927; transl. 1962), Heidegger argues that the concept of time prevalent in all Western thought has largely remained unchanged since the definition offered by Aristotle in the Physics. Central to Heidegger’s own philosophical project is the attempt to gain a more authentic understanding of time, considering time to be the unity of three ecstases: the past, the present, and the future. The 'presence’ to which Heidegger refers is thus both a presence as in a “now” and also a presence as in an eternal present, as one might associate with God or the “eternal” laws of science.No.2 (Yellow leather sculpture) Synthetic leather, sponge padding, brass 210x30x30cm 2022No.3-No.7 (Acrylic table, bowl and others) Acrylic sheet, bronze, fiberglass, fabric 200x200x40cm 2022Drifting seat No.5 Aluminium, paint 35 x 40 x 40 cm 2021Hybrid structure Plank, metal pipes 620x585x205cm 2022Pet (Red) Bronze, paint 95 x 70 x 50 cm 2021Fossil No.1 Bronze 147 x 35 x 35 cm 2021No.8 (Swiss cheese plant in a plate) Bronze 40x40x60cm 2022Pet (Blue) Bronze, paint 105 x 40 x 40 cm 2021Meditation room Oxford fabric, stainless steel, high-density foam, metal suspension accessories, nylon rope 130x130x150cm 2022Symmetry (Residence and Tomb) solid wood, paint 202 x 58 x 54 cm 2022Bonsai Resin, sand, water pump 140 x 83 x 83 cm 2021娜布其于2013年畢業(yè)于中央美術(shù)學(xué)院。她曾參加多個(gè)重要國(guó)際展覽，包括：「一切都回到了開始的地方」，（西岸美術(shù)館，上海，2022）；「鏡像：中國(guó)身份的轉(zhuǎn)變」，（亞洲協(xié)會(huì)博物館，紐約，2022）；「摸著石頭過河：第一屆迪里耶雙年展」（2021）；「暗光」，（昊美術(shù)館，上海，2020）；「格物致知?；蛞粍t關(guān)于噴泉，磚，銻，硬幣，蠟，石頭，貝殼，窗簾和人的故事」，（廣東時(shí)代美術(shù)館，廣東，2020）；第58屆威尼斯雙年展「愿你生活在有趣的時(shí)代」（2019）；「寒夜」，（UCCA當(dāng)代藝術(shù)中心，北京，2017）；「缺失的段落」，（Museum Beelden aan Zee，海牙，2017）；「球場(chǎng)」（中央美術(shù)學(xué)院美術(shù)館，北京，2017）；第十一屆上海雙年展「何不再問？正辯，反辯，故事」（2016），以及第十一屆光州雙年展「第八種氣候（藝術(shù)做什么）」（2016）。2016年，娜布其入圍華宇青年獎(jiǎng)。Nabuqi graduated from the Central Academy of Fine Arts in 2013. Nabuqi’s work has been widely exhibited in notable international exhibitions including: “Everything goes back to square one”, (West Bund Museum, Shanghai, 2022); “Mirror Image: A Transformation of Chinese Identity”, (Asia Society Museum, New York, 2022); “Feeling the Stones: The First Diriyah Biennial” (2021); “Noire Lumière”, (HOW Art Museum, Shanghai, 2020); “Study of Things. Or A Brief Story about Fountain, Brick, Tin, Coin, Wax, Stone, Shell, Curtain and Body”, (Guangdong Times Museum, Guangdong, 2020); 58th Venice Biennale “May You Live In Interesting Times” (2019); “Cold Nights” (UCCA Art Centre, Beijing, 2017); “Absent Paragraph” (Museum Beelden aan Zee, Den Haag, 2017); “Any Ball” (Central Academy of Fine Arts, Beijing, 2017); the 11th Shanghai Biennale “Why Not Ask Again: Arguments, Counter-arguments, and Stories” (2016) and the 11th Gwangju Biennale “The Eighth Climate (What Does Art Do?)” (2016). She was nominated for the 2016 Art Sanya Huayu Youth Award.?娜布其
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