Art Macao

不是終點站 尹秀珍 （中國） 金屬、木、橡膠、顯示屏、 攝像頭、地毯 800 x 1200 cm 2025 《不是終點站》是一件能讓人“走進去、玩起來、成為作品一部分”的公共藝術裝置。作品以一條由金屬、木材與橡膠構成的靜止行李傳送帶閉環為核心，形成一個“品”字形平台。表面看似是機場常見的行李傳送帶，但走近之後，你會發現它其實是一個讓人停留、交流與自由活動的公共空間。 觀眾可以坐在其上休息，也可以在周邊鋪設的塑膠地毯上奔跑、滑滑板或騎單車，讓原本靜止的結構因觀者的參與而獲得動能。這種由“靜”到“動”的轉換，也像極了我們的生活節奏——每個人都在自己的步調裡向前推進。 裝置上方懸掛著九塊屏幕，其中四塊播放預錄素材，另有五塊會即時播出現場攝像頭捕捉觀眾的互動影像，這些視頻素材交織播放，使空間成為一個不斷更新的“生活劇場”。每一位踏入作品的人，都會自然地被納入影像之中，讓藝術從單純的觀看對象，變成現場正在發生的事件。 作品以輕鬆而深刻的方式提醒我們：人生沒有真正的終點站，而是由無數段旅程組成。那些穿插在影像中的步伐、日常與移動，都像是我們的記憶、情緒與軌跡——時刻在流動。行李帶的“靜止”與觀眾的“移動”形成鮮明對比，也引導我們重新思考：真正重要的，或許不是抵達哪個終點，而是一路上的經歷與當下的體驗。 專題網站： www.artmacao.mo/2025 Not Terminal Yin Xiuzhen (China) Metal, wood, rubber, display screen, camera, carpet 800 x 1200 cm 2025 Not Terminal is a public art installation that invites you to step inside, interact, and quite literally become part of the work. At its center is a static loop of a luggage conveyor belt, constructed from metal, wood, and rubber, forming a three-way platform reminiscent of the Chinese character“品”. At first glance, it resembles a common airport luggage belt , but as you move closer, you’ll discover that the familiar object has been transformed into a shared space designed for pausing, connecting, and free movement. Visitors are welcome to sit and rest on the structure, or to run, skateboard, and cycle on the surrounding plastic flooring. Their movement becomes the driving force that activates this originally motionless form. This shift from “stillness” to “movement” mirrors the rhythms of everyday life—each of us moving forward at our own pace, shaping the momentum of our personal journeys. Suspended above the installation are nine screens: four show pre-recorded footage of everyday scenes, while five display live images captured on site. Together, the videos intertwine to create an ever-changing “theatre of life”. Playful yet contemplative, Not Terminal reminds us that life never truly arrives at a final destination. Instead, it is composed of countless moments in motion. The footsteps, movements, and ordinary fragments interwoven throughout the video echo our memories, emotions, and identities—constantly shifting, never fixed. More Information： www.artmacao.mo/2025

【新美安社區共創與互助計劃】 新美安社區共創與互助計劃發起人何志森，與居民馮嬌雄“紅姐”及藝術團隊，在“藝文薈澳2025” 公共藝術展帶來《照護的藝術》展覽。這不僅是一場展覽，更是一場以藝術為名的社區行動，協助 “紅姐”推進成立正式的業主委員會，讓互助的力量能持續下去。 展覽沒有高不可攀的藝術品，是“紅姐”多年來照護大廈的記錄，如大廈水電費單、照護日記，還有藝術家們到新美安與居民的共創記錄，以藝術凝聚社區，使原本陌生的鄰居開始對話，一起參與照護大廈的行動。何志森希望能透過藝術這座橋梁，能幫助紅姐建立起業主委員會的同時，還能讓大家看見一個社區如何透過集體行動找回屬於自己的力量，把一場有限期的展覽，延續成為一場持續的社區行動。 專題網站 / More Information： www.artmacao.mo/2025 【Community Co-Creation and Mutual-Aid Project of San Mei On】 Initiator of the Community Co-Creation and Mutual-Aid Project of San Mei On, Jason Ho, joins forces with community caregiver ‘Sister Hong’ Feng Jiaoxiong and a group of co-creating artists to present “The Art of Care”, part of Art Macao 2025’s public art exhibition programme. More than an exhibition, this is a community-powered endeavor in the name of art, supporting Sister Hong’s efforts to establish a formal property owners' association and ensuring that the spirit of mutual aid continues to flourish well beyond the exhibition’s run. This is not an exhibition of inaccessible art. Instead, it offers an intimate look at years of Sister Hong’s steadfast care for her community. On display are utility bills, water bills, and handwritten diaries chronicling the everyday details of neighbourhood life. Also on display are the collaborative projects co-created by participating artists and residents of the San Mei On community. Through art, neighbours who were once strangers have begun to connect, forging bonds and taking collective responsibility for their building. Jason Ho hopes that art can serve as a bridge, not only helping ‘Sister Hong’ form an owners’ committee but also inspiring others to see how collective action can empower communities to reclaim their agency. What begins here as a time-bound exhibition may blossom into an enduring movement of community care.

【藝文薈澳2025主場展順利完結展現澳門藝術多元與先鋒的一面】 “藝文薈澳：澳門國際藝術雙年展2025”主場展自7月啟動後，經過熱鬧的暑假和國慶長假，收穫眾多本地觀眾和遊客的好評。主場展展期至10月19日完結，以“嗨，你幹什麼來了？”為主題的展覽，將澳門變為流動的美術館，展出13個國家和地區總共46位藝術家的近80件（套）作品，涵蓋繪畫、雕塑、影像和攝影等，從日常到本質的叩問，從本地到全球化的反思，皆被囊括其中，多元且先鋒。展品互動性強，如德國藝術家格雷戈爾．施耐特（Gregor Schneider）作品《Ecstasy 2019 – 2025》，由“雙胞胎”志願者演出獨特的“真人複製”效果挑戰觀眾對真實與虛擬的空間感知。 在展覽進行期間，文化局特別在8至10月期間在主場展內推出14場“藝遊初初”藝術體驗活動，透過導賞及工作坊，培養孩子對藝術的認知和興趣，激發藝術想象力，本地家庭踴躍參與其中；並舉辦2場外地藝文導賞團，組織外地藝術愛好者來澳參觀，加強與鄰近地區的藝文交流。其他精彩活動亦令觀眾大開眼界，包括“內在異星探索之旅”工作坊、“樂享•藝博館”音樂會、走進“藝文薈澳”的心靈盒子劇場等。 專題網站 / More Information： www.artmacao.mo/2025 【Art Macao 2025 Main Exhibition Concludes, Celebrating the Diversity and Innovation of Macao’s Artistic Landscape】 The main exhibition of the Macao International Art Biennale 2025, which opened on July 18, garnered widespread acclaim from both local residents and visiting tourists during the vibrant summer vacation season and the National Day Golden Week. The main exhibition successfully concluded on October 19. Centered on the theme “Hey, what brings you here?”, it transformed the city into a dynamic art gallery, featuring nearly 80 artworks by 46 artists from 13 countries. The exhibition presented works across various art forms, including painting, sculpture, video, and photography. It explores themes ranging from the quotidian to the profound, from the local to the global, delivering a diverse and forward-thinking artistic experience. During the summer vacation, the Cultural Affairs Bureau ran an outreach activity "Children Tours" from August to October. Through interactive guided tours and workshops, the initiative aims to inspire children's interest and understanding of art, stimulate their artistic imagination and creative potential. The event attracted enthusiastic participation from many local families.

《借來之手》 Borrowed Hands 在崗頂劇院灑滿陽光的長廊內，本屆澳門國際藝術雙年展特邀藝術家安・漢密爾頓與我們談起她創作特定場域裝置作品《借來之手》的靈感之光。 安從她身處的長廊說起，這裡是她和另一位藝術家兼佛像收藏家張曉合作的區域，牆上懸挂著眾多張曉的私人珍藏民間木雕人物肖像圖片。略帶柔焦的圖像是安通過手持掃描儀一遍遍捕捉木雕表面的光線生成，它們就像“等待的觀眾”，與劇院玻璃門外因好奇而向內探望的觀眾形成呼應。 劇院舞台之下，黑色幕布被搖曳的投影光點亮。透過投影，觀眾可以看到“微型鏡框舞台”內一艘雙桅船與無限延展的地平線，仿佛永不靠岸。台上三個巨型喇叭緩慢旋轉、升降，我們聽到的聲音，是來自小提琴弓與弦的摩擦，“我們邀請了聲樂家Emily Eagen以聲音交織其中”，這是安編織的一種特殊的中西交融詩意，它們如呼吸般流動，這種體驗恰好吻合人們坐在劇場中的慣有感受。 最後，安介紹了入門位置的設置。兩部日常以手彈奏的樂器被靜靜地放置在劇院前廳：屬於劇院的三角鋼琴與大鍵琴，但此處卻並無演奏者。琴上沒有樂譜，鋼琴上放的是宋詞英譯本改編的詩歌，大鍵琴上則放置古詩段落回譯成中國古典詞體的版本。這些詞當時都是有樂譜的，但現已失傳。安解釋說：“《借來之手》這個作品，在某程度上也有尋找失落樂章，和尋覓未知之歌的意思”，兩件樂器之間的空間，恰似連接東西方文化交流的“海岸”。 專題網站 / More Information： www.artmacao.mo/2025 In the sun-drenched hallway of the Dom Pedro V Theatre, Ann Hamilton, a featured artist of Art Macao 2025, shared with us the inspiration behind her site-specific installation Borrowed Hands. Hamilton began with the hallway where we stood, a space she co-creates with Chinese Buddha statue collector and artist Zhang Xiao. The statues from Zhang’s collection are scanned and printed into images, which are thoughtfully arranged along the theatre's corridor. The soft, blurred quality of the images is generated by Hamilton’s process of repeatedly tracing the play of light across the carved wooden surfaces with a handheld scanner. The figures, like “waiting audiences,” mirror the curious passersby who peer through the glass doors of the theatre from the street outside. Inside the theatre, a stage curtain transforms into a canvas for drifting projections. Swaying gently, the light reveals a “miniature proscenium arch” framing a dual image: a boat adrift on a boundless horizon. Three horn speakers slowly rotate, descending and rising from the rails. Hamilton introduced the arrangement of the entrance. Two hand-played instruments, now silent, are placed in the theatre foyer. A grand piano and a harpsichord from the theatre’s own collection sit facing each other with no players in sight.

【公共藝術展 | 展品賞析：照護的藝術】 “藝文薈澳2025”公共藝術展之一的《新美安社區共創與互助計劃〈照護的藝術〉》，帶你走進黑沙環的新美安大廈，發現社區中最動人的風景。 在這裡，居民的日常空間就是展場。大家透過多件獨特展品，深入閱讀這個社區的故事。社區照護者馮嬌雄“紅姐”親筆書寫的《新美安日記》，工整卻略顯斑駁的字跡交替記錄著電費收取的帳目、鄰里間的小事。這些樸素的記事本，如同一部活的社區史，將瑣碎的日常提升為可被閱讀的公共記憶。還有牆面上懸掛的歷年公用電費單，從雜亂無章到井然有序的排列變化，無聲地見證社區從疏離到凝聚的轉變過程。 展覽同時呈現多位藝術家駐地創作的成果，如沈佳璐《早餐在晚上吃》 以食物為媒介，記錄社區百態，為來自不同文化背景的居民創造公共對話的時刻；張曉《民間美學大觀》 則透過鏡頭，細膩捕捉新美安與周邊社區的人文風景與傳統文化。每一幀畫面，都是社區生命力的真實寫照。 展覽發起人何志森以及藝術家們透過這些展品的巧妙編排，讓“照護”這項隱形勞動變得清晰可見。每一件展品都不只是藝術創作，更是社區生活的真實切片，展現了新美安由亂而序的轉變，也展現了人與人之間微妙的情感流動。 《照護的藝術》 展期：25/09/2025–26/10/2025 對公眾開放時間：逢週六、週日，上午10時至下午6時 地點：澳門黑沙環新美安大廈第二期6樓BE座 專題網站 / More Information： www.artmacao.mo/2025 As part of the public art exhibition of Art Macao 2025, “The Art of Care”, under the Community Co-Creation and Mutual-Aid Project of San Mei On, invites visitors into the San Mei On Building in Areia Preta to uncover the heartfelt stories in the local community. Here, the everyday living spaces of residents become an exhibition venue. Through a variety of unique exhibits, visitors are offered an intimate glimpse into the stories of the community. The “San Mei On Diary”, handwritten by community caregiver ‘Sister Hong’ Feng Jiaoxiong, chronicles utility bills and neighbourhood minutiae in lines of neat, slightly faded script. More than mere record books, these pages serve as living archives, transforming life’s seemingly insignificant details into a shared public memory. Jason Ho, initiator of the San Mei On project, collaborates with co-creating artists to bring the often invisible labour of care into clear view through a thoughtful curation of details. Each work is not only an artistic expression but also an authentic fragment of community life, showcasing San Mei On’s transformation from disorder to order and the profound emotional connections forged among its residents. Exhibition: The Art of Care Duration: 25/09/2025–26/10/2025 Opening time: open to the public from 10am to 6pm every Saturday and Sunday Venue: 6BE, Phase 2, San Mei On Building, Areia Preta, Macao

【藝文薈澳：徐冰的“太空藝術”】 知名藝術家徐冰的“太空藝術”代表作《衛星上的湖泊》是“藝文薈澳2025：澳門國際藝術雙年展”參展作品之一，作為世界上第一部拍攝於外太空的定格動畫《衛星上的湖泊》，徐冰和我們分享了作品背後的意義。 專題網站 / More Information ： www.artmacao.mo/2025 “Satellite Lake”, a major work of Xu Bing’s “space art,” is one of the highlights of Art Macao 2025: International Art Biennale. It also holds a groundbreaking place in art history: the first-ever stop-motion animation created in outer space.

【藝文薈澳特展】「澳門銀河TM」呈獻BRUNO MOINARD意象境界 法國國寶級設計大師Bruno Moinard攜將300多幅原創作品帶來「澳門銀河」銀河藝萃的《BRUNO MOINARD意象境界》展覽中，帶領分享了了解他藝術家30多年來的創作生涯，引領觀眾深進入他的藝術世界。 展覽巧妙精細地還原了Moinard位於諾曼底的工作室氛圍，透過手繪速寫、設計手稿與油畫作品等，完整呈現其融合成爲傳統工藝與當代美學的獨特風格。重點作品包括特別為澳門創作的《澳門藍》大型水彩畫，藝術家以深邃不一的藍色詮釋了對這座城市的情感。 現場通過多件紀錄影片與裝置作品，讓觀眾感受他從傢俱設計到藝術創作的跨界魅力。這場展覽就像是一場小而精美的哲學之旅，在細節中體會法式浪漫與生活美學。 Bruno Moinard意象境界 展覽日期：2025年7月23日至12月31日 地點：「澳門銀河」銀河時尚匯一樓，銀河藝萃 免費入場 [Art Macao 2025 Special Exhibition] Galaxy Macau TM proudly presents In the mind of Bruno Moinard Internationally acclaimed French designer Bruno Moinard presents a collection of over 300 never-before-seen original works at the “In the Mind of Bruno Moinard “exhibition in GalaxyArt at Galaxy Macau. This special exhibition at Art Macao 2025 offers audiences a deep dive into his 30-year career and an intimate look into his artistic world. The exhibition features a meticulously recreated version of Moinard’s creative studio in Normandy, showcasing his sketches, manuscripts, and paintings that beautifully blend with traditional craftsmanship and contemporary aesthetics into his unique style. Highlight works not to be missed include a striking piece Macau Blue, a large-scale watercolor drawing made specifically for Macau in capturing Moinard’s personal emotions and impressions of the city through mesmerizing shades of blue. Through documentary-style videos and interactive installations, visitors are offered a glimpse into his cross-disciplinary creative spectrum spanning from furniture design to traditional art. More than an exhibition, it's a philosophical voyage into the heart of French romance and the art of living in exquisite detail. In the mind of Bruno Moinard Date: July 23 - December 31, 2025 Location: GalaxyArt, 1/F Galaxy Promenade at Galaxy Macau Free Admission

《借來之手》 展出地點：崗頂劇院 Borrowed Hands Location: Dom Pedro V Theatre 澳門在過去四百年來，是中國海運貿易最早的集散地、是中西文化的聚合之地，也是東西方宗教交匯之地。崗頂劇場在自它建成之始，便陪伴著這個過程。知名美國藝術家安•漢密爾頓（Ann Hamilton）挑選崗頂劇院作為作品“艙體”，為“藝文薈澳2025”創作公共藝術作品《借來之手》，她希望用西式“話劇”的方式將崗頂劇場想像成一個由澳門起航前往西方進行貿易的商船。 在觀眾的參觀過程中，通過藝術家在崗頂劇場對於空間的設置，讓觀眾不斷地在劇場和商船的空間概念中切換，完成對展覽題目“嗨，你幹什麼來了”的呼應。在策展概念上以“空間作為策展”的設置，完成在話劇劇場和公共藝術兩種語境的雙重表達。 自明清以來，中國瓷器的出口中佔據國際領先地位，外銷瓷一直是海上貿易重要的商品。這些由外國設計和定制，呈現西式器型和風格的瓷器，是中國早期代工貿易的典型代表。他們呈現的是西方對東方的理解，也是西方對於中國的誤讀。安•漢密爾頓運用這個方法，從中國民間佛像藏家張曉的收藏中挑選了幾十尊來自於中國南方宗祠的佛像，並為這些佛像拍攝肖像置於劇院的長廊之中。“置於這艘“商船”的艙室之中，漂泊於海上”，是安內心的澳門詩意，它們和外銷瓷一樣，即將轉換成為西方語境下的當代藝術或是工藝品。 專題網站 / More Information： www.artmacao.mo/2025 Over the past four hundred years, Macao has stood as a vital node in China’s maritime trade, a crossroads where Eastern and Western cultures converged, and a unique stage for interfaith dialogue between Eastern and Western religions. Since its establishment, the Dom Pedro V Theatre has borne witness to this evolving narrative. At Art Macao 2025, renowned American artist Ann Hamilton unveils her public artwork Borrowed Hands, transforming the historic theatre into an artistic ‘cabin of a merchant ship.’ Through the lens of Western theatrical tradition, she reframes the theatre as a vessel ready to set sail from Macao on a voyage westward. During their visit, audiences are guided by the artist’s immersive spatial choreography, continuously shifting between the conceptual realms of a theatre and a merchant vessel. This experience resonates with the central theme of Art Macao 2025, “Hey, what brings you here?”. Curatorially, the work adapts an approach of space-as-curation, staging a dialogue between theatrical tradition and public art. Since the Ming and Qing dynasties, Chinese porcelain exports have occupied a prominent place on the global stage, serving as one of the most important commodities in maritime trade. Tailored specifically for foreign markets and often adorned with Western motifs, these export porcelains stand as early examples of Chinese contract manufacturing. They embody both the Western interpretation of the East and the misunderstandings that accompanied it.

《商賈與勇士》 展出地點：果欄街19號 展出時間：10：00-18：00 果欄街19號的中式老宅內，正在展出由英國跨學科建築與設計團體Assemble創作的“藝文薈澳2025”公共藝術展作品《商賈與勇士》，Assemble擁有十多位創始成員，擅長以駐地藝術計劃介入社會現場的方式，為藝術作品與人和社區作橋接。 這次為公共藝術展創作的團隊成員包括聯合創始人詹姆斯.賓寧（James Binning)、導演安托萬.普洛森.莫爾萬（Antoine Plouzen Morvan）與建築師卡米爾.西諾（Camille Sineau）。作品透過自下而上的視角，強調了支撐環境可持續性，審視城市化建設，並強調了農村社區在可持續的，有韌性的未來中可以發揮的重要作用。 團隊拍攝了六個不同主題的小農場故事，透過影像裝置和微敘事手法，直觀地呈現中英兩地小農場的日常生活與耕作場景。一樓的大屏幕是影片的精華片段，就如一個邀請觀眾進入空間參觀的邀請函；二樓擺放電腦，循環播放六個影片，大家可以坐下，帶上耳機慢慢觀賞；最後，三樓提供農業、土地和人的相關文獻資料閱讀。每一層樓的陳設都使用了從果欄街周邊街坊商戶採購來的材料來構建，例如紅色膠凳、木材等等，展示了人和在地社區的關係。參觀完畢後，你將可以透過作品，深入思考小農經濟的獨特價值，以及土地與人的共生關係。 專題網站 / More Information： www.artmacao.mo/2025 Merchants and Warriors Location: Rua da Tercena n.o 19 Opening Hours: 10:00–18:00 Inside a three-story traditional Chinese house on Rua da Tercena, Merchants and Warriors by the British multidisciplinary art and architecture collective Assemble unfolds as part of Art Macao 2025’s public art programme. With over ten permanent members, Assemble specializes in residency art programmes that engage with local communities, forging connections between people and artworks. Assemble members contributing to this project include co-founder James Binning, filmmaker Antoine Plouzen Morvan, and architect Camille Sineau. From a bottom-up perspective, Merchants and Warriors advocates for environmental sustainability, reviews urban construction, and re-examines the constructive role of rural communities in building a sustainable and resilient future. The team captured the stories of six small-scale farms, each with a unique thematic focus. Through video installations and micro-narrative techniques, the work directly unfold scenes from daily life and work on small farms in China and the United Kingdom. On the ground floor, a film installation presents highlights from the footage, serving as a gentle invitation into the space.

【展品有話說 | Stories Behind the Works】 展覽：她們來到言說的地點 觸生世 藝術家：李佳寶 錄像 2022 這部2022年的錄像作品，藝術家李佳寶從一個簡單提問展開：如果世界不是以人類為中心，而是以章魚為中心，將會如何？她借由作品構建了這樣一個未來圖景：全球暖化導致海平面上升，大陸被海洋徹底淹沒。人類世（Anthropocene）終結，地球進入了一個新的紀元——“觸生世”（Chthulucene）。 在這個紀元中，作為海洋中擁有高度智慧的章魚，解鎖了關鍵基因：牠們不再於繁殖後自毀，得以將祖先的智慧代代累積。而瀕臨滅絕的人類，必須思考最後的課題：我們能否為自己設計一個“優雅的滅絕”？ 能否讓接下來的霸主物種，例如章魚，能帶著一絲溫情與同理來記住我們？ 於是，影片中的“我們”開始學習章魚，嘗試進行“跨物種變形”，嘗試以觸覺而非視覺理解世界，讓身體模仿章魚的呼吸、伸展、偽裝與協作。這是一場徹底的轉向：從人類至上的世界觀，轉為向其他物種學習；從依賴大腦中央控制，轉向理解分散式智慧；從視覺主導的認知，回歸到最原始的觸覺感知。 本地策展計劃《她們來到言說的地點》｜哪吒文化館（茨林圍9號地下）｜05/09/2025 - 31/10/2025｜11:00–18:00（逢週一休） 專題網站 / More Information： www.artmacao.mo/2025 Exhibition： Speakable Position for WOMEN Chthulucene Li Jia Bao Video 2022 In her 2022 video work, artist Li Jia Bao poses a provocative question: What if the world weren't centered around humans but around octopuses? In this work, She constructs a speculative future where global warming causes sea levels to rise and all continents are submerged underwater. The "Anthropocene" ends, and the earth enters the "Chthulucene". In this new epoch, octopuses, as highly intelligent inhabitant of the ocean, have unlocked an optic gland gene that prevents the releases self-destructing hormones after giving birth. Now they can pass on the wisdom of their ancestors from generation to generation. As humans are on the edge of extinction due to environmental breakdown, we are compelled to confront a final existential challenge: How can we design agraceful extinction? What can we create so that the upcoming species, in this case, the octopus, will remember us with tenderness and empathy? In the video, humans try to connect with octopuses through learning their movements, through interspecies metamorphosis. We attempt to understand the world through touch rather than sight, allowing our bodies to mimic the octopus's breathing, stretching, camouflage, and collaboration. This marks a fundamental paradigm shift: from a worldview of human supremacy to a one where we have to adapt and learn the other species; from a centrally governed brain to distributed intelligence; from our visual dominated senses to tactile perception.

【展品有話說 | Stories Behind the Works】 展覽：她們來到言說的地點 Seeking Myself in the Universe 藝術家：羅藹盈 錄像裝置 2025 這件作品以身體為媒介，低溫蠟為語言，在火與水、毀滅與新生的邊界，展開一場關於“前身”與“自我”的深刻追問。 影像中的表演者身披白紗，其姿態令人聯想起十八世紀朱塞佩・桑馬蒂諾的雕塑《覆紗的基督》，在燭光環繞中虔誠跪地，將低溫蠟一層又一層、緩慢地澆淋於自身。這一行為，宛如一場在混沌中重鑄自我、於萬物間尋求新生的儀式。 作品的靈感，源自澳門哪吒廟的門聯：“何者是前身，漫向太虛尋故我”。哪吒削骨還父、藉蓮重生的神話故事，正與此作的核心精神相互呼應——藝術家透過行為演繹，試圖破除前身的枷鎖，探尋“我自何來”的生命奧義。 凝固的蠟，如同新生的肌膚，覆蓋並重塑著舊有的軀殼。在痛感與灼熱中不斷回望“故我”，藝術家企圖從這具肉身出發，窺見那個本自清明、與宇宙同頻共振的“真我”，邀請我們一同思考：如何能在生命的不斷蛻變中，找到那個最真實、最純粹的自己。 本地策展計劃《她們來到言說的地點》｜哪吒文化館（茨林圍9號地下）｜05/09/2025 - 31/10/2025｜11:00–18:00（逢週一休） 專題網站 / More Information： www.artmacao.mo/2025 Exhibition： Speakable Position for WOMEN Seeking Myself in the Universe Luo Ai Ying Video Installation 2025 This work uses the body as a medium and low-temperature wax as its language. Situated between fire and water, destruction and rebirth, it initiates a ritualistic inquiry into the "former self" and the "true self." The figure in the video, draped in white veil, evokes the reverence of Cristo Velato (The Veiled Christ) by 18th century Italian sculptor Giuseppe Sanmartino—kneeling in stillness, surrounded by candlelight, and slowly pouring layers of wax upon their own body. It is a journey of remaking the self amid chaos, of being reborn in the universe. The inspiration originates from a poetic couplet inscribed at the entrance of the Na Tcha Temple in Macau: "Who was I before? I wander through the universe, searching for the self I once was". Just as Na Teha sacrifices himself and was reborn from a lotus, this piece enacts a ritual of shedding the burdens of the former self, embarking on a spiritual alchemy that explores the origin of being. The wax, like a new skin, reshapes the old self. Through the sensation of pain and burning, the work continuously looks back upon one's past life. Through the new body, the artist reveals a glimpse of the true self—pure by nature and present throughout the universe. It is an invitation to reflect: how do we find our most authentic, essential being in a world of perpetual change?

【展品有話說 | Stories Behind the Works】 展覽：她們來到言說的地點 第二身 —— 門票系列 藝術家：吳敏慧i 複合媒材 2020 – 2025 藝術始於對生命的摹寫，而“複製”作為一種創作手段，自古便蘊藏著矛盾的力量：它或許挑戰了藝術的獨特性，卻也藉由影像的傳播，凝聚了時代的集體記憶，喚起大眾對文化的關注。 從2015年開始，藝術家吳敏慧以忠實和客觀複製的手法創作，將真實物件與其親手仿造的擬真作品並置展示。此舉巧妙地引導觀眾從匆匆一瞥轉為凝神細看：紙質、墨色、磨損、邊角與序號的微差，都成為辨識的線索。每張門票上的圖像，無論出自著名藝術家或人文風景，皆承載著特定時代的文化與歷史意涵。藝術館將這些圖像轉化為入場憑證，賦予其場域精神的象徵；而吳敏慧對門票的複製與再使用，則融入了個人遊歷與記憶的維度，呈現出同一圖像在不同語境中，如何傳遞迥異的意義與價值。 此外，這些來自70個國家的門票，不僅串聯起藝術家的旅行足跡，也包裹著其身為澳門女性的成長與探索。作品以客觀視角，審視藝術、記憶與傳播之間的互動，同時交織著對文化潮流與身份認同的反思，呈現出對生命意義的持續追尋與內在省思。 本地策展計劃《她們來到言說的地點》｜哪吒文化館（茨林圍9號地下）｜05/09/2025 - 31/10/2025｜11:00–18:00（逢週一休） 專題網站 / More Information： www.artmacao.mo/2025 Exhibition： Speakable Position for WOMEN Doppelganger -The Series of Tickets Ng Man Wai Mixed Media 2020 – 2025 Art begins with the imitations of reality, and copying, as an aspect of artistic creation, has always embodied a contradictory duality. While the act of copying may appear to challenge the uniqueness of an artwork, the widespread dissemination of images stirs public imagination and fosters a shared visual memory. Since 2015, Macau artist Ng Man Wai has captivated audiences by juxtaposing real objects alongside their simulated recreations, showcasing objective and faithful renditions of everyday items. Her approach shifts the viewer’s attention from a passing glance to a closer inspection—subtle variations in paper texture, ink tone, signs of wear, edge details, and serial numbers become markers of perception. The images on the tickets, whether sourced from renowned artists or depicting cultural landmarks and scenic wonders, radiate the cultural and historical significance of an era. By printing artwork images on tickets, the art museum transforms them into another form of representative symbol, imbuing the venue with new spiritual and symbolic meaning. Ng’s reproductions and representations of the tickets weave together fragments of her journeys and memories from multiple angles, revealing how identical images can acquire unique meanings in different contexts.