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口 目 气 足 口 — 能 尖 日 个 展

MOUTH-EYE-QI-FOOT-MOUTH —  Nhozagri Solo Exhibition

艺术家 | Artist：能尖日 | Nhozagri

策展人 | Curator : 付晓东 | Fu Xiaodong

日期 | Exhibition Time：2019.3.2 - 4.7

地点 | Venue : 空间站 北京市朝阳区酒仙桥路4号798艺术区中一街 | Space Station, NO.4 Jiuxianqiao Rd, 798 Art District, Beijing

四维物故事的形状 | The Shape of a Four-Dimensional Story

影像 | video/7'55"/2015

点击微店链接，即可认领您的子民~

https://weidian.com/?userid=853148066&wfr=c&ifr=shopdetail

口目气足口 — 能尖日的可能性世界

文：付晓东

 “一个不愿面对欢乐之过度，缺乏自由，没有血色，不苟言笑的生命微粒应该抵达——极限，这个说法是一个圈套。得到了满足的存在，要用过度，而不是匮乏，通达极限。”

                        ——乔治巴塔耶《内在体验》

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水饺棋 | Put My Monkey

纸本水彩，粘土，布 | Watercolor on Paper ，Clay, Cloth

60 x 40cm/2016

水饺棋（细节） | Put My Monkey（Detail）

纸本水彩，粘土，布 | Watercolor on Paper ，Clay, Cloth

60 x 40cm/2016

    阿米巴虫

  古老的阿米巴虫是一种单细胞的原生动物门肉足纲跟足亚纲变形虫，虫体裸露、柔软，可以向各个方向伸出奔放式伪足，内含数个水泡和伸缩泡，是个分裂生殖的透明椭圆体。这种自由生活的变形虫，能够从鼻腔进入生物体内，吞噬脑神经细胞，是研究微生物学最重要的单细胞基因实验观测对象，也是一切奇异变形怪物的起点。史莱姆是电子游戏和奇幻小说里虚构的小烂泥，黏稠物，一种果冻状的半液体，绿色的柔软有弹性，不断的分裂和融合，现实以阿米巴虫为依托，出身则是来自于克苏鲁神话体系，巨大的变形怪物，能将石头之外的所有物质融化进自身体内。

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观看呕吐 | Watch the Vomiting

纸本水彩、聚苯乙烯、毛绒、树脂

Watercolor on Paper, Polystyrene, Plush, Resin

81x48cm/2018

猫身上开心的滑滑 | The Cat is Happy and Slippery

纸本水彩，聚苯乙烯，软胶 | Watercolor on Paper,High density foam, soft glue

21 x23cm/2018

  能尖日王国里对软体子民们构想起源于这些单细胞或者多细胞的变形软体生物的传说，它们胡乱的生长着，比较随意，忧郁、松散、弱不禁风。这些绒面拉丝绒毛萌系的子民们，“外貌停留在被逮捕的一瞬间”，“眼神往往是错觉和幻觉”，“暴露了某些自己的过去和未来”。“有一些事物化的事件，凝结了事情的一瞬间，像是一个石化的魔法”。它们是一片蓝天，或者一堆白云，是时空块。它们与人类的存在无限反弹，互相起递归作用，你可以抱着“一个地方”，玩儿“一件事情”，拥有一个“复杂的头脑”，软体子民不仅仅是一些形象，世界上的任何事情，离子，空气，光，都有可能成为以气相聚的软体子民。“世界不仅仅是地球”，能尖日说道。这些可怜萌的子民们被能尖日视为拥有自我意识，能够生存和繁殖的族群。每一个子民就是通往能尖日王国，激活非凡时间的钥匙，在一个可能性世界的物质存在的证据。它们之间互相叠加，组合成“口、目、气、足、口”的身体文字，意指“眼耳鼻舌身”五感四肢，内部空间则用象形和谐音的方法用“肠”，“鹅”的外形拟音“嫦娥”，用“虫”、“蝶”的外形拟音“重叠”，是物体象形、身体象征、语音拟意的叠合重构。它们不单是看的另一种方式，更是“在”的差异形态，回归于更加古老宏大的宇宙机器的机制，将远近亲疏的万事万物以中国宇宙观古老方法中的类比关系的存在巨链紧密的联结在一起。

跳绳棋 | Jump draughts

纸本水彩，粘土 | Watercolor on Paper, Clay

50x37cm/2016

跳绳棋 | Jump draughts

纸本水彩，粘土 | Watercolor on Paper, Clay

50x37cm/2016

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猪裙子 | The Pig Skirt

粘土，丙烯 | Clay, propylene

20 x 17 x 19cm/2015

很多冰激凌 | Lots of Ice Cream

粘土，丙烯，树脂 | Clay, Propylene, Resin

15 x 11 x 11cm/2015

    时间之被

  资本主义、工业文明、科学观、进化论之后，所有人都面临着一个问题，古代西方的天主教象征体系崩塌了，东方的儒教伦理和日常宗教体系断裂了，我们该以什么为中心，重新组织文明？

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贝壳影子中的人在梳头（细节）

The Man in the Shadow of the Shell is Combing His Hair（Detail）

树脂，粘土，雁皮纸 | Clay, propylene

45cm x 30cm/2017

呕吐跳绳 | Vomiting Rope Skipping

雁皮纸，水彩，毛线 | Goose vellum, Watercolor, Wool

24 x26cm/2018

呕吐跳绳（细节） | Vomiting Rope Skipping（Detail)

雁皮纸，水彩，毛线 | Goose vellum, Watercolor, Wool

24 x26cm/2018

星星里的人在换头套

The people in the stars are changing their heads

树脂，粘土，雁皮纸 | Clay, propylene

23cm x17cm/2017

星星里的人在换头套(细节)

The people in the stars are changing their heads（Detail）

树脂，粘土，雁皮纸 | Clay, propylene

23cm x17cm/2017

水饺归你了 | You Got the Dumplings

纸本水彩 | Watercolor on Paper

48 x 31cm/2017

  能尖日的可能性王国里，每一个子民，每一个故事，都在试图组建一个属于她自己的时空体系，可以通过展览中的只图片语在脑海里拓扑一个宏大的异样的宇宙世界。能尖日说：“我经常感受到，在一些空间里，到过的与未到过的，一些在意识中的事情碎片，他们处在非线性时间之中，被记忆和失忆重新组合，形成一些形体，在我身后或者身旁。”如同具有超感觉力，她把时间的印象感知固定化，制作了出来，这些偶然的造物形成了毫无秩序的一片混沌的多重时间关系，在分裂的线形时间下展开叙事。在《四维物》中多个子民的形象渐渐的固定化个性化，也日益的人格化，具有充分发展的象征主义观念为基础的思维方式，被定义为时空分岔的当代神话思维。

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能尖字—镜像 | Mirror

毛绒布，树脂，毛线，填充物

Plush cloth, resin, wool, stuffing

330x230cm/2019

能尖字—镜像（部分） | Mirror（Part）

毛绒布，树脂，毛线，填充物

Plush cloth, resin, wool, stuffing

330x230cm/2019展览现场

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放了我猴 | Put my monkey

雁皮纸，水彩 | Wild goose paper, watercolor

65cm x 70cm/2017

放了我猴（细节） | Put My Monkey（Detail）

雁皮纸，水彩 | Wild goose paper, watercolor

65cm x 70cm/2017

  能尖日试图用她的子民们来安抚和治愈现代人无法弥合的创伤。如果说三里屯“好奇柜”展览里呈现了理性主义、经验主义、精神现象学、新教伦理、符号秩序都无法治愈的文明中心巨大的创伤的话，那么从一战到二战，从民族战争到民主战争，让人疯狂的是一直在寻找让自己满足物质和信仰诉求的人类自己。对物质欲望贪得无厌的索取，和对形而上学世界极限追求的渴望，使人类自身的内部生长出了光怪陆离的怪物。

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Photograph 龟 | Photograph The Turtle

纸本水彩、聚苯乙烯、毛绒、树脂

Watercolor on paper, polystyrene, plush, resin

127x59cm/2018

Photograph 龟（细节） | Photograph The Turtle（Detail）

纸本水彩、聚苯乙烯、毛绒、树脂

Watercolor on paper, polystyrene, plush, resin

127x59cm/2018

日月跳绳 | The Moon and Sun Jumping Rope

雁皮纸，水彩，毛线 | Goose vellum, watercolor, wool

36 x 48cm/2017

日月跳绳（细节）

The Moon and Sun Jumping Rope（Detail）

雁皮纸，水彩，毛线 | Goose vellum, Watercolor, wool

36 x 48cm/2017

其妙的果 | The Excellent Fruit

纸本水彩 | Watercolor on paper

23 x 50cm/2018

其妙的果（细节） | The Excellent Fruit（Detail)

纸本水彩 | Watercolor on paper

23 x 50cm/2018

其妙的果（细节） | The Excellent Fruit（Detail)

纸本水彩 | Watercolor on paper

23 x 50cm/2018

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能尖字 — 气 | Gas

毛绒布，树脂，毛线，填充物

Plush cloth, resin, wool, stuffing

200x350cm/2019

能尖字 — 气（部分） | Gas（Part）

毛绒布，树脂，毛线，填充物

Plush cloth, resin, wool, stuffing

200x350cm/2019

能尖字 — 气（部分） | Gas（Part）

毛绒布，树脂，毛线，填充物

Plush cloth, resin, wool, stuffing

200x350cm/2019

  能尖日要“偷偷的玩”，“做艺术就是从空气中过滤宝石；我在时间的外面向世界里面看，一边走一边捡，透过透明的宝石看，客观世界都在弹珠的折射下换了灵魂，任何一个玩耍的行为都是一个拓扑结构。”将注意力从外在的压迫转换为内在的放松，从歇斯底里的异化转换成晶莹剔透的沉淀和抚慰。我们无法想象一个没有强权的世界，没有资本剥削的世界，我们无法想象一个不吃人的世界，面对如此恐怖残忍又正常运转的世界，为了缓和这种矛盾和焦虑，我们试着停止抱薪救火，苟延残喘在非人的世界里。“当盖上时间的被子，它们才会沉睡，渐渐的显示出清晰的形象。”隔断与现实生活的联系，不是游离于现实之外，恰恰是重返，是与正在坍塌的现实世界的同构，是真实的介入到现实中的另一种途径。在冷漠末世的背景下，有如此浪漫诗意的治疗世界。能尖日的子民们带着某种后人类主义的未知物气质，洋溢着对宇宙物质生命的赞扬之情，歌唱普通日常生活的颂歌，对万物平等给出了具有形象的例证。一种偶然的致乐应运而生，如同享受一片风景时那般，是一种略微平淡的甜蜜和令人愉悦的占有，是一种来自于内在心灵的持久的享受。能尖日说：“画画就是认识世界的方式。非常孤独但很勇敢。”

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蜗牛跳绳(细节） | Snail Rope Jumping（Detail)

雁皮纸，水彩，毛线 | Goose vellum, watercolor, wool

2018

偷偷的玩（细节） | Secretly Play（Detail）

纸本水彩，雁皮纸 | Watercolor on paper, wild goose paper

48 x 43cm/2018

圆球和影子 | The Ball and the Shadow

布面丙烯、毛绒布、树脂 | Propylene on canvas, plush, resin

39x30cm/2018

噩梦 | The Nightmare

纸本水彩、聚苯乙烯 | Propylene on canvas, polystyrene

50x33cm/2018

葫芦里跳绳的人 | A rope jumper

水彩，树脂，粘土 | Watercolor, resin, clay

20 x20 x 6cm/2017

土电话 | Soil phone

粘土 | clay

约7cm x 9cm x 6cm（每个）/2017

N 件倒霉事 | N Gad Things

纸本水彩 | Watercolor on Paper

40 x 37cm/2017

    蒸汽波

  能尖日是89年出生，毕业于央美版画系的研究生。她的弥漫甜蜜的少女系风格来自于对学院系统教育的有意的排斥，和独特个体在艺术世界中自我专断的权力，是一种自愿的、暂时的无遮化的赋形。蒸汽波（Vaporwave）是发源于2010年，是一种脱胎于赛博朋克的互联网文化和迷幻体验结合在一起的复古电子科技风格。一种将8、90年代的电子舞曲互相剪辑，切断、扭曲、分层、循环成简单、宁静、阴暗、低沉、致幻的风格，杂糅出一种复古音乐与流行电音的混合乐曲，这种低成本的制作方式让蒸汽波变成了一种全民参与的艺术形式。同样在视觉元素里也是充满了低保真、彩虹渐变色、复古科技的迷幻超现实主义的风格,在生产、分配和消费中，进行耗费、逾越和祝祭。感性的解放和直觉力的尊崇，从而使旧有的解释学的陈规陋俗得以破解，使当代人存在的知觉决然的呈现。

展览现场

熊的讲述 | The Bear's Story

纸本水彩、聚苯乙烯、毛绒、树脂

Paper watercolor, polystyrene, plush, resin

128x88cm/2018

杂技 | Acrobatics

纸本水彩 | Watercolor on Paper

56 x 38cm/2016

杂技（细节） | Acrobatics（Detail）

纸本水彩 | Watercolor on Paper

56 x 38cm/2016

举重和捉蛇（细节） 

Lifting Weights and Catching Snakes（Detail）

纸本水彩 | Watercolor on Paper

30 x 33cm，10 x 10cm（9 张）/2016

盘子 | plate

粘土，丙烯 | clay，acrylic 

18x18cm/2015

折叠故事 | Fold the Story

树脂，水彩，雁皮纸 | Resin, watercolor, wild goose paper

40x30cm/2018

摘果树 | Pick the Fruit

树：毛绒布料，树脂，粘土，水

Tree: plush cloth, resin, clay, water

60x35cm/2018

摘果树（细节） | Pick the Fruit（Detail）

树：毛绒布料，树脂，粘土，水

Tree: plush cloth, resin, clay, water

60x35cm/2018

甜花 | TianHua

布，树脂，水彩 | Cloth, resin, watercolor

40x30cm/2018

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  在B站上的弹幕群体，以“灵魂画手”来称呼那种传神但技术低拙的画风。在观念绘画之后，“坏”画也成为了反抗已经定型的现代主义语言风格的绘画路径，作为对“好”画的嘲讽，表现为变形扭曲的图像，混搭通俗与流行的风格，配合荒诞不羁的内容。他们的挑战如此的成功，以至于现在显然不是反对派，而是与曾经合法的品味一样，受到了美术馆和收藏家的追捧，甚至登上了主流的位置。以攻击那些自诩为高级正统人士为主要的共同文化目标里，致力于生产反区向的异质化努力，无疑依然蕴藏在中国广大的民间通俗文化之中，亚文化依然是先锋性源源不断的供给资源库。能尖日作品以网络美学的属性，指向卡通、动漫、游戏，以及蒸汽波的美学风格，以新的尺度达到感官比例和平衡。故事以网络超文本（Hypertext）性作为叙事方式，作品作为一个无限开放的链接节点，时间不再是一种消极的容器，是一种不断流动的和现实之间的关系，比如“切故事”和“游戏棋”，如同一个“时空体”囊括了移动的迷宫和各种不同叙事的可能性结果。

鹅 | The Goose

毛绒，树脂 | Plush, resin

170 x 170 x 60cm/2018

鹅 | The Goose

毛绒，树脂 | Plush, resin

170 x 170 x 60cm/2018

鹅（细节） | The Goose（Detail）

毛绒，树脂 | Plush, resin

170 x 170 x 60cm/2018

鹅（细节） | The Goose（Detail）

毛绒，树脂 | Plush, resin

170 x 170 x 60cm/2018

  人在平淡的生活中依然需要加点甜，战胜了自我欲望的魔兽后，飘离出理性之外的奇幻和疯狂依然是人与AI较量中不可战胜的区别。能尖日的自我的小船已经带着梦、时空和被子飘向了远方，带着她的子民去摸索主体建构的其他的可能性，这种摸索是在自设的游戏规则里面寻找未来，是指向可能性的奇幻世界的一种个人化的出路。

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蝶 | Butterfly

毛绒，树脂, 纱，粘土 | Plush, resin, yarn，clay

130x130x130cm/2018

蝶 | Butterfly

毛绒，树脂, 纱，粘土 | Plush, resin, yarn，clay

130x130x130cm/2018

蝶（细节） | Butterfly（Detail）

毛绒，树脂, 纱，粘土 | Plush, resin, yarn，clay

130x130x130cm/2018

重叠 | Overlap

毛绒，树脂, 纱 | Plush, resin, yarn

170 x 45cm/2018

重叠（细节） | Overlap（Detail）

毛绒，树脂, 纱 | Plush, resin, yarn

170 x 45cm/2018

重叠（细节） | Overlap（Detail）

毛绒，树脂, 纱 | Plush, resin, yarn

170 x 45cm/2018

重叠（细节） | Overlap（Detail）

毛绒，树脂, 纱 | Plush, resin, yarn

170 x 45cm/2018

MOUTH EYE QIFOOT MOUTH---the World of Possibility of Nhozagri

by Fu Xiaodong

A livingparticle which is unwilling to face the excess of joy, lacks freedom, withoutjoy, and remains sternest should reach its extreme. This is just a trap. Thebeing that is fulfilled, should apply excessiveness, not deprivation, to reachextremity. 

                           ------L'expérienceintérieure, Georges Bataille

螺旋（部分） | Spiral（Part）

毛绒布料，树脂 | Plush fabric, resin

80 x 140cm/2018

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肠 | Intestines

毛绒，树脂, 纱，粘土 | Plush, resin, yarn，clay

尺寸可变/2018

螺旋（部分） | Spiral（Part）

毛绒布料，树脂| Plush fabric, resin

80 x 140cm/2018

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能尖字 — 登山 | Mountain climbing

毛绒布，树脂，毛线，填充物

Plush cloth, resin, wool, stuffing

200x350cm/2019

能尖字 — 登山（部分） | Mountain Climbing（Detail）

毛绒布，树脂，毛线，填充物

Plush cloth, resin, wool, stuffing

200x350cm/2019

能尖字 — 气（部分） | Gas（Part）

毛绒布，树脂，毛线，填充物

Plush cloth, resin, wool, stuffing

200x350cm/2019

Amoeba

Ancient amoebais a single-cell protozoa, belongs to the class of Sarcodina and Rhizopoda. Thebody of amoeba is bare and soft. It can protrude from all directions itspseudopods and has several blisters and telescopic bubbles. It is a transparentellipsoid that can produce fission. This free-living amoeba can enter the bodyof the host from the nasal cavity and engulf the brain nerve cells. Therefore,it is the most important observation object for single-cell genetic experiment,and also the starting point of all the strange deformed monsters. Slime is akind of fictional little mud who appears in video games and fantasy novels. Asa sticky substance and a jelly-like semi-liquid, it is green, soft and elastic,constantly splitting and blending. In reality it is based on amoeba andoriginates from the Cthulhu mythology system---a huge deformed monster that canmelt anything but stones into its body.

展览现场

藕| Lotus Root

纸本水彩、聚苯乙烯 |  Watercolor on paper, polystyrene

63 x 50cm/2018

藕 （细节）| Lotus Root（Detail）

纸本水彩、聚苯乙烯 |  Watercolor on paper, polystyrene

63 x 50cm/2018

花上露珠 | Take the Dew

绢，矿物质颜料，树脂 | Silk, mineral pigments, resin

38 x 45cm/2018

花上露珠（细节） | Take the Dew（Detail)

绢，矿物质颜料，树脂 | Silk, mineral pigments, resin

38 x 45cm/2018

雨中的花 | The Fowers in the Rain

纸本水彩 | Paper watercolor

32x36cm/2018

雨中的花 （细节） | The Fowers in the Rain（Detail）

纸本水彩 | Paper watercolor

32x36cm/2018

The conceptionof Nhozagri Kingdom of its soft-body subjects comes from the legend of theseunicellular or multi-cellular deformed mollusk. They grow wildly, in a casual,melancholy, loose, and weak way. For these cute subjects with flock satin andfluffy hairs, "their appearances stay in the moment of captivation",their "eyes are full of illusion and hallucination", therefore"exposing their own past and future." "There are some events ofthings that condense a moment of things, just like a petrified magic."They are a blue sky, or a bank of white clouds, a block of time and space. Theyinfinitely rebound with human existence, and functions with each otherreciprocally and recursively. One can stay in "one place", play"one thing", and have a "complex mind". The soft-bodysubjects are not just some images, instead, they can be anything in thisworld--- ions, air, and light can all become soft-body subjects gathered bybreathe. "The world is not just about the planet earth," Nhozagrisaid. These poor yet cute subjects are regarded by Nhozagri as a self-consciousgroup that can survive and reproduce on their own. Every subject is a key toenter Nhozagri Kingdom as well as to activate unique time. In short, they arethe evidences of the material existence in a possible world. They superimposeon each other and form texts of the body like “MOUTH EYE QI FOOT MOUTH, whichdenotes “eyes, ears, nose, tongue, and body”, namely, the five senses and fourlimbs. For the internal organs, Nhozagri applies the method of pictogram orhomophone: to apply the sound of “肠”（cháng） and “鹅”（é）to imitate the sound of “嫦娥”(cháng-é) (the Goddess in the Moon); to apply thesound of “虫”（chóng） and “蝶”（dié）to imitate the sound of “重叠”（chóng-dié） (overlap). Itis a superimposed reconstruction of object pictogram, body symbol and phoneticimitation. They are not merely an alternative way of viewing. but a diversifiedform of “being”, returning to a more ancient and magnificent mechanism of themachine of the universe, and finally, closely join all the things together, nomatter how far they are, through the analogy manifested in the ancient methodof Chinese cosmology.

戴首饰的女孩 | The Girl in the Jewelry

布料、粘土、丙烯上色 | Cloth, clay, acrylic coloring

35x30cm/2018

戴首饰的女孩（细节） | The Girl in the Jewelry（Detail)

布料、粘土、丙烯上色 | Cloth, clay, acrylic coloring

35x30cm/2018

So Delicious

故事：纸本水彩 | Watercolor on Paper

10 x 10cm（11 张）/2013

新的自己(细节） | A New Myself（Detail）

纸本水彩 | Watercolor on Paper

10 x 10cm（12 张）/2016

The Quilt of Time

Aftercapitalism, industrial civilization, view of science, and Evolution Theory,everyone was facing a challenge---since the ancient symbolic system of WesternCatholic collapsed, as well as the Oriental Confucian ethics and dailyreligious system collapsed, what should we center on to reorganize ourcivilization? 

展览现场展览现场

偷这件事情 | Steal It

纸本水彩、聚苯乙烯、毛绒、树脂

Paper watercolor, polystyrene, plush, resin

70 x 48cm/2018

偷这件事情（细节） | Steal It（Detail）

纸本水彩、聚苯乙烯、毛绒、树脂

Paper watercolor, polystyrene, plush, resin

70 x 48cm/2018

In theNhozagri’s kingdom of possibility, every subject and every story is trying toform a space-time system of her own, that the audience can imagine in mind agrand and differed universe through the few pictures and words in thisexhibition. As Nhozagri puts, "I often feel that in some spaces, whether Ihave been there or not, exist some fragments of things in consciousness, andthey are in a non-linear time, recombined by memory and amnesia, thereforeforming some form or shape, just behind me or beside me." As if withsuper-feeling, she fixed the impression of time and create this impression.These accidental creations formed a chaotic multi-time relationship, expandingnarratives in the splitting linear time. In "Four Dimensions", theimages of various subjects gradually fixed and individualized, and alsoincreasingly personalized. The thinking mode based on a fully developedsymbolism is defined as the contemporary mythological thinking of a forked timeand space.

开心的滑滑 | Slippery and Happy

纸本水彩，高密度泡沫，软胶

Watercolor on paper,High density foam, Soft glue

17 x 15cm/2018

Nhozagri triesto appease and heal the unhealed wounds of modern people. If the exhibition“Curious Cabinet” in Sanlitun presents the great trauma in the center ofcivilization that cannot be healed by rationalism, empiricism, Phenomenology ofSpirit, protestant ethics, and s order of symbolism, then we can say that fromWorld War I to World War II, from national wars to democratic wars, it is humanthemselves who is always in the pursuit of material and spiritual satisfactionthat drives people crazy. The insatiable demands for materials and the desirefor the ultimate pursuit of metaphysical world that have led to the developmentof strange monsters within human beings.

时间分身，重叠 | Time Split, Overlap

纸本水彩、聚苯乙烯 | Watercolor on paper, polystyrene

50 x 58cm/2018

时间分身，重叠（细节） | Time Split, Overlap（Detail）

纸本水彩、聚苯乙烯 | Watercolor on paper,polystyrene

50 x 58cm/2018

螺旋形是所有故事的形状

The Spiral is the Shape of All Stories

纸本水彩，高密度泡沫

Watercolor on paper, high density foam

74 x 74cm/2018

偶然的云人 | The Accidental Cloud Man

纸本水彩、聚苯乙烯 | Watercolor on paper,polystyrene

50 x 50cm/2018

Nhozagri wantsto "play secretly". "Art creation is to filter gems from theair; I look into the inside world while standing outside of time, walking andpicking; looking through transparent gems, the objective world have changed itssoul through the refraction of marbles. Any act of play is a topologicalstructure.” We have to turn our attention from external oppression to innerrelaxation, from hysterical alienation to crystal sedimentation and soothing.We can't imagine a world without power, without capitalism exploitation. Wecan't imagine a world that doesn't eat people. Facing such a terrible yetnormal world, we try to stop doing counterproductive things while justlingering in the world of inhumanity, so as to alleviate this contradiction andanxiety. "Until the quilt of time is covered, they will fall asleep andgradually show clear images." To cut the connection with real life is notdrift outside the reality, but return to it. It is a simul-construction withthe collapsing world, an alternative way to truly intervene the reality.Therefore, against the background of the indifferent doomsday, we can have sucha romantic and poetic world of healing. With a temperament of post-humanisticunknown things, Nhozagri’s subjects are full of the praise for material livesin the universe and for the ordinary daily life, giving a vivid example of “allthings are equal”. It is an accidental ecstasy, as if enjoying a beautifulview, a slightly mild sweet and pleasant possession, and a lasting enjoymentfrom the inner mind. An accidental joy comes into being, as if enjoying alandscape, it is a slightly dull sweet and pleasant possession, a lastingenjoyment from the inner mind. Nhozagri said: “Painting is a method to know theworld. Lonely but brave.”

螺旋（部分） | Spiral（Part）

毛绒布料，树脂 | Plush fabric, resin

80 x 140cm/2018

螺旋（部分） | Spiral（Part）

毛绒布料，树脂 | Plush fabric, resin

80 x 140cm/2018

口香糖子民 | Gum man

口香糖子民 | Gum man

Vaporwave

Nhozagri wasborn in 1989 and graduated from Printmaking Deptment, Central Academy of FineArts. The sweet girl style impregnated in her works comes from the intentionalrejection to college system education, and from The arbitrary power of a uniqueindividual in the art world, which can be regarded as a voluntary, temporaryand unobstructed form-giving. Vaporwave is a microgenre of retro electronicstyle that combines the internet meme with huge amount of cyberpunk tropes andpsychedelic experience emerged in 2010. The style is defined by its appropriations of 1980s and 1990s mood musicstyles; through clipping cutting, twisting, layering, and circulating, a simple,quiet, dark, low, and illusory style appears. It tends to be characterized by anostalgic engagement mixed with a popular entertainment. The low-costproduction method of Vaporwave makes it an art form that everyone has access tobe involved. Also in its visual, there is the psychedelic surrealist stylefilled with low fidelity, rainbow gradient colors and the retro technology,consuming, exceeding and sacrificing in the production, distribution andconsumption. Its perceptual liberation and intuitional respect allow theprevious hermeneutics to be cracked, decisively foregrounding the perception ofcontemporary existence.

开幕现场

开幕现场

开幕现场

开幕现场

The cybercitizens on the Bilibili named the expressive but low-tech paintings as theworks of “soul painters”. After the conceptual painting, the "bad"painting has become a painting path against the stereotyped modernist languagestyle, as a mockery of "good" paintings, which is represented bydistorted images, mixed with popular styles, and absurd content. Their challengewas so successful that it is now clearly not an “opposition”, but more likely aonce legitimate taste, having been sought after by art galleries andcollectors, and even becoming the mainstream. Subcultures, usually share acommon goal—to attack those self-proclaimed “high-ranking”professionals, anddevote to producing heterogeneity in the opposite direction. Subculture isstill providing continuous supply of resources to the avant-garde, as it isundoubtedly hidden in the vast Chinese folk cultures. The works of Nhozagri,with the attributes of cyber aesthetics, point to the hybrid styles ofcartoons, animations, games and vaporwave, reaching the sensual proportionbalance with a new scale. The story uses the hypertext as a narrative method.When her works are taken as an infinitely open chain node, time is no longer apassive container; instead, it becomes a continuous relationship with thereality, such as her works “cutting stories” and “chess game", like a"space-time body" encompassing the moving maze and various possibilitiesof different narratives.

开幕现场

开幕现场

开幕现场

开幕现场

开幕现场

People stillneed to add some sweetness in their plain life. After defeating the monster ofself-desire, the fantasy and madness that drift away from rationality is stillthe invincible difference between human beings and AI. Nhozagri’s boat of theself-speaking has drifted off into the distance with dreams, time and space andquilts, and with her people to explore other possibilities of the constructionof the subject. This kind of exploration is to find the future in the rules ofthe game set by herself, which is a personal way out of the fantasy world ofpossibilities.

开幕现场

开幕现场

开幕现场

开幕现场

开幕现场

开幕现场

开幕现场

开幕现场

开幕现场

开幕现场

开幕现场

   能尖日   

2012—2015中央美术学院版画系第六工作室插图语言延伸的可能性

2007—2010中国美术学院版画系第四工作室版画的综合应用

艺术作品致力于对叙事形态的探索，尤其对于非常规叙事形态的研究。作品涉及架上绘画，雕塑，动画，独立出版等。风格诡异可爱，千奇百怪，清新脱俗。

展览（选）

2018

臆想仓库，Chao，北京

去碑营，应空间，北京

野餐，乔空间，上海

2018 BTS,国家会议中心，北京

拼贴Collage，西五艺术中心，北京

字在列日，第三届“仓颉碑”中国文字艺术展，比利时烈日市政厅烈日孔子学院，比利时

能尖日大王国软体子民领养pop-up show，木木美术馆商店，北京

2017

子民的三辈子，恋物志，深圳（solo）

东京艺术书展，日本东京

香港动漫展，中国香港

INever Read，巴塞尔书展，巴塞尔，瑞士

第四届青年版画展，星汇当代美术馆 ，重庆

永无岛Mini Show，央美术馆，北京

好奇柜，朵云轩艺术中心，上海

进化论之纸本展，空间站，北京

莱比锡书展，德国

从那寄过来的日常 part 2，首尔乐天酒店画廊，韩国

PIN!PIN!手指胸针展，YAM美术馆，北京

2016

ArtBook in China, Printed Matter,纽约

第三届CAFAM双年展，空间协商：没想到你是这样的，方案协商会，中央美术学院，北京

常青藤计划2016年展，天津美术馆，天津

能尖日大王国，鼹书，北京

首届cult文化艺术展览，北外滩艺术园，上海

莱比锡书展，莱比锡，德国

伦敦时装周，Fashion Scout Showroom，伦敦

巴黎时装周，Capsule Show Showroom,巴黎

2015

弱水三千，上海明园美术馆，上海

 “在路上”2015中国青年艺术家提名展（提名），关山月美术馆，深圳

无界—国际学院版画展，深圳观澜版画博物馆，深圳

第九届国际版画会议，中国美术学院，杭州

从那边带来的日常，新韩画廊，首尔

2014

能尖日大王国(个展)，KausAustrails ，鹿特丹,荷兰

版画方式N+2，金鸡湖美术馆，苏州

首届中国版画大展，深圳观澜版画艺术博物馆，深圳

常青藤计划首届中国青年艺术家推介展，中间美术馆，北京

“左拐”青年艺术家联展，大清湖美术馆 ，韩国

 国际艺术家驻留计划:

2014,KausAustrails,鹿特丹,荷兰

Workshop：

2016

恋上手工书，央美术馆，北京

2015

脚注，漫画的语境，民生当代美术馆，上海

出版：

Chinese Zine Box，Nieves，瑞士

Worm or Cobra，ZINI Book,墨西哥

MissedConnections 2，Comic Arts Brooklyn，加拿大

EditorialMagazine Issue 18，加拿大

   Nhozagri.  

2012-2015  Master degree – the department of print-making, CentralAcademy of Fine Arts.

2007-2010 Bachelor degree – the department of print-making, ChinaAcademy of Art.

Exhibitions (Choice):

2018

StèlesV，VIVE LE TRAVAIL，Ying Space，Beijing，China

Ware House，CHAO,Beijing，China

Picnic，Qiao Space，Shanghai，China

BTS 2018, China National ConversationCenter,Beijing，China

Characters in Liege the 3rd Chinses Characters ArtExhibition of “Canjie Stele”，The Confucius College ofLiege Belgium，Belgium

pop-up show，M-WOOD galleryshop，Beijing

2017

Three Lives of My People，Little Thing，ShenZhen，China（solo）

The Tokyo Art Book Fair 2017，Tokyo，Japan

Animation-Comic-Game HongKong，HongKong，China

Prints Exhibition，the Galaxy Museum of Contemporary Art，Chongqing，China

Neverland Mini Show，YAM Store，Beijing，China

Cabinet of Curiosities，Duoyunxuan Art Center，Shanghai，China

Magic Smpling，FruitSpace，Beijing，China

Theory of Evolution —Arts on Paper，SpaceStation，Beijing，China

Buchme Leipzigersse，Leipzig，Germany

Daily From There, Lotte Hotel Gallery，Seoul，Korea

Pin！Pin！Handmade Pin，YAM Store，Beijing

2016

Art Book in China,Printed Matter,NewYork,US

3th CAFAM, Negotiating Space，Central Academy of Fine Arts Museum，Beijing，China

BOOK OFF/ZINE ON Art Book Exhibition，Bnanafish Book，Beijing，China

Super Nhozagri Kingdom，YANSHU Space，Beijing，China（solo）

Lovers Hate Valentine, Onehome Art Hotel,Shanghai

London Fashion Week, Fashion ScoutShowroom, London

Paris Fashion Week, Capsule Show Showroom,Paris

2015

The Only In This Multifarious World,Mingyuan Art Museum, Shanghai

Transitions-Three Institutions, anInternational Exhibition Prints, China Printmaking Museum, Shenzhen

IMPACT 9 International PrintmakingConference, Museum of China Academy of Fine Art, Hangzhou

Korea International Art Fair, Seoul COEX,Korea

2014

Super Nhozagri Kingdom（solo）/Kaus Austrails/Rotterdam,the Netherlands

the First Print Exhibition inChina/Shenzhen Guanlan Print Art Museum/Shenzhen

the First Ivy League Recommendation Fair ofYoung Artists/Inside－Out Art Museum／Beijing

Group Exhibition of “Turn Left”/Deacheongho Lake Art Museum/Korea

InternationalArt Residence Programm

Kaus Austrails, Rotterdam,the Netherlands

Publish

2018：

Chinese Zine Box，Nieves，Switzerland

Worm or Cobra，ZINIBook,Mexico

Missed Connections 2，Comic Arts Brooklyn，Canada

Editorial Magazine Issue 18，Canada

Never Ending，Yanshu，China

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来自宇宙时空的前沿现场：

T: +86 10 59789671 

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Venue: Space Station，NO.4 Jiuxianqiao Rd，798 Art District，Beijing 100015