上海外滩美术馆于新加坡呈现最新展览项目“环海旅社：星洲海峡”，作为“环海旅社”在上海以外语境下的首次延续。


艺术家：Arka Kinari、本吉·拉（Bhenji Ra）、Tati au Miel、蔡坤宇、黄慧莲（Dawn Ng）、 埃斯文·阿拉尔孔·林（Esvin Alarcón Lam）、符芳俊（Hoo Fan Chon）、潘逸舟（Han Ishu）、何子彦（Ho Tzu Nyen）、伊旺·艾迈特和蒂塔·萨利娜（Irwan Ahmett & Tita Salina）、汪春龙（John Clang）、宋祖承（Joshua Serafin）、黄汉明（Ming Wong）、佩恩恩（Payne Zhu）、米格尔·科瓦鲁维亚斯（Miguel Covarrubias）、赵仁辉、斯蒂芬妮·康米兰（Stephanie Comilang）、塔落伊·哈维尼（Taloi Havini）、谭婧和婉塔妮·西帕塔娜伦塔宫（Wantanee Siripattananuntakul）。


“环海旅社”项目最初于2024年在上海外滩美术馆呈现，将美术馆一楼空间被打造成了一个限时的“酒店”。如今，“环海旅社”重新抵达新加坡海域——延续关于“海洋景观认识论”（seascape epistemology）的新思考：躯体如何跨越水域——通过商业交换，也通过生存、欲望、血缘与抵抗。其构想也提出了新的语汇：新加坡海峡并非只是地缘政治的通道，而是融合了航运、金融、劳工迁徙、监控机制与采掘经济的高密度地带。以海洋的方式思考新加坡，就意味着要认识到海事环境长期被如此种种权力的日常施行所塑造，而不再将海洋（再）抽离成纯粹的象征空间。


项目的核心思想源自汤加学者艾培力·郝欧法（Epeli Hau‘ofa）的宏阔视野。郝欧法挑战将太平洋理解为“远海中的岛屿”的狭隘观念，转而提出“岛屿之海”的愿景：海洋是彼此连通的广阔网络，承载着共同的历史、多维的关系，以及持续的流通。这种海洋式的存在方式抵抗殖民主义强设、固化的宏大叙事，拒绝殖民的整合力量将流动的身体压缩进固定边界、将大洋分割成围栏圈定的土地，并切断百年迁徙纽带的行径。“环海旅社”与郝欧法展开思想对话，将海洋视作生成的空间：身份并非再围合中确立，而是在流动中浮现。


“环海旅社：星洲海峡”将新加坡河畔的一间由仓库改建而成、仍在运营的精品酒店——仓库酒店（The Warehouse Hotel）重新搭建成铺陈幻想的舞台。这片由船工、秘密结社与红灯区经济塑造的区域冲刷着劳工与亲密关系的潮汐。如今，酒店规范化的礼宾空间得到重新调度，成为一座思辨装置，在十天的时间里容纳关于 “中断”的集体排演。前台、大堂、吧台、书房、餐厅和边缘空间汇集二十位艺术家与关于浪潮、海峡、迁移路线和海事基建的艺术实践。


在为期十二天的展期中，来自亚太地区的二十余位艺术家与团体将作品带入仓库酒店，通过装置、表演、对谈和声音介入的激活，并试问：身体如何不仅仅横渡水域，也跨越权力？当一切事物都成为闭锁的同谋，亲缘、渴望与忍耐如何延续？


“环海旅社：星洲海峡”由上海外滩美术馆馆长及首席策展人朱筱蕤（X Zhu-Nowell）策划，上海外滩美术馆策展人钱诗怡协助策展。作为新加坡艺术周（Singapore Art Week）期间呈现的项目之一，本次展览由ART SG与上海外滩美术馆联合主办，并获新加坡国家艺术理事会、新加坡旅游局及洛克·外滩源的支持，场地合作为新加坡仓库酒店。

The Rockbund Art Museum (RAM) is delighted to announce the premiere of 


Artists in this edition include: Arka Kinari (Nova Ruth and Grey Filastine), Bhenji Ra, Tati au Miel, Cai Kunyu, Dawn Ng, Esvin Alarcón Lam, Hoo Fan Chon, Han Ishu, Ho Tzu Nyen, Irwan Ahmett & Tita Salina, John Clang, Joshua Serafin, Ming Wong, Payne Zhu, Miguel Covarrubias, Robert Zhao Renhui, Stephanie Comilang, Taloi Havini, Tan Jing, and Wantanee Siripattananuntakul.


Originally staged at RAM in 2024, during which the museum’s ground-floor was transformed into a fabulous, speculative hotel, 

 now continues its oceanic voyage through to the Singapore Strait: a historical epicenter of sea-bound commerce where cargos, bodies, and desires continue to flow. In this incarnation, the exhibition seeks to address the Singapore Strait not merely as a geopolitical passage, but as a dense zone where shipping, finance, labor migrations, surveillance, and extractive economies converge. Instead of seeing the ocean as a purely symbolic space, it engages Singapore as a maritime environment that has been structured by these daily rehearsals of power through the form of a hotel: a social and spatial structure very much shaped by the specific oceanic, historical, and logistical conditions of its locale.


Transforming the historic architecture of The Warehouse Hotel, a warehouse-turned-boutique-hotel, originally constructed by a Chinese shipping magnate on the south bank of the Singapore River at the turn of the 20th century, into a space of reflection, 

 enters a site historically defined by tides of labor and intimacy—a district once shaped by boat workers, secret societies, and red-light economies—and draws into view the fundamental premises of hospitality as not simply a service, but a shared condition that fluctuates and allows histories, movements, and encounters to remain active.


Over the course of twelve days, works and performances by over twenty artists and collectives from across Singapore, Southeast Asia, and the Asia-Pacific will inhabit the premises of The Warehouse Hotel and draw on it as a vessel for a collective rehearsal on interruption:


In the reception area, audiences will encounter works by Bhenji Ra, Esvin Alarcón Lam, and Payne Zhu that investigates the complex legacies of the US military tourism industrial complex in Southeast Asia, transcontinental migrations between Asia and the Americas, and financial imaginaries of the ocean through the ecological phenomenon of the 'whale pump', respectively. Meanwhile, across the lounge, bar, and restaurant, moving images and installations by Cai Kunyu, Arka Kinari, Irwan Ahmett and Tita Salina, Ming Wong, and Hoo Fan Chon each examines different valencies of flow and currency in the transmission of ways of life, ritualistic knowledge, developmentalist ideologies, colonial imaginaries, and piscine products as a conduit of social structures and memories.


At the main stage in the ground floor lobby, a dynamic installation of chairs that are rearranged to reflect optimal fortune every hour by John Clang serves as seating to a looping programme featuring six moving image works by Ho Tzu Nyen, Stephanie Comilang, Han Ishu, and Taloi Havini that each stretches the seams between official and unofficial histories, tracing the rhythms and cadences of time as an affective substance, punctuated by performances by Joshua Serafin. Nearby, in the study, audiences are invited to slow down and engage with works by Tan Jing, Dawn Ng, and Robert Zhao Renhui that focus on material presence, opacity, and time, as well as with a variety of archival materials including reference books and past issues of the speculative broadsheet 

 On the second floor, visitors can register for an intimate performance with John Clang where a 

—a metaphysical system that emerged in imperial China which combines astronomy, philosophy, and temporal calculation into an instrument of divination—reading may reveal new destinies and discoveries of one's true self in a camera-less long-exposure portrait.


In every hotel room, guests will have access to moving images by Wantanee Siripattananuntakul: an episode of grieving kickstarts a broader reflection on the intersection of personal and public memories. Meanwhile, spaces around the hotel are activated by maps drawn by Miguel Covarrubias that place the Pacific Ocean at the center of the frame, shifting attention away from continental hierarchies, proposing the ocean not as a void separating distant lands but as a connective field structured by movement, exchange, and relation, and at set times, by performances devised by Bhenji Ra in collaboration with Tati au Miel that draw on mythology, collective memory, and the sonic histories of Singapore’s shadow economies to invoke an enbedded infrastructure of trans-feminine care and hospitality since erased from the public consciousness.


Finding anchorage in the thoughts of Tongan thinker Epeli Hau‘ofa, 

 seeks to ask: How do bodies traverse not only water but power? How do kinship, longing, and endurance persist when everything conspires toward enclosure?

 is curated by X Zhu-Nowell, Executive Director and Chief Curator of Rockbund Art Museum, with support from Sam Shiyi Qian, Curator at Rockbund Art Museum. Presented as part of Singapore Art Week, 

 is organised by ART SG and Rockbund Art Museum, supported by the National Arts Council, Singapore Tourism Board, and ROCKBUND, and presented with venue partner The Warehouse Hotel.

在“伟大的掩饰”展期内，艺术家团体44月报将派出不同成员，不定期驻守在美术馆四楼《颠倒车站》现场担任值班员，带领观众进入44的场域与话语，并面向观众策划和呈现不同的公共项目。这些项目或带有剧场性、或聚焦于文本讨论，总之，值班员欢迎所有朋友来到现场，加入环环相扣的“颠倒之时”。 

“颠倒之时”的第二次活动，值班员陈逸飞和李艺浓围绕以布袋戏重演历史叙事的创作过程与实践展开讨论，并由此延伸思考：将人偶当作一种“翻译工具”去呈现和理解那些常常被遮蔽的革命叙事，其意义何在？ 

在灵犀计划的支持下——该计划由Emily Jin与Sharon Liu于2023年发起，致力于围绕艺术与翻译展开写作与展览项目——2025年8月艺术家陈逸飞在东京神保町的美学校（Bigakko）组织了为期三晚的布袋戏工作坊。研究者李艺浓参与了工作坊，和背景各异的参与者们共同研读历史文献、创作各自的人偶，在最后一晚合演了一出多语布袋戏《神保町译闻录》。 

演出回到并重新想象了一百年前的东京神保町——一个思想、文化与革命网络交汇地。外星人、食物、妖怪与历史人物在咖喱店、咖啡馆等场景中登场，讨论饮食流变、自由恋爱等话题，共同编织一场跨越国界与时空的梦境。

44月报的《颠倒车站》由上海外滩美术馆委任创作，是44宇宙的一个缝合点、文献库、补给平台，由不同时间中相互干涉的平面组成。它的名字来自没头没尾的偈子或感慨：“毕竟颠倒梦想。”不知是哪一位穿梭于时空伴随的44参与者涂抹在墙上——这个同时是火车站和码头的空间组合了珠江三角洲以及多地水陆交通的片段、历史回响。 

展览期间，会有多位参与艺术家和作家、研究者等等担任“时时间、念念角”的值班员，ta们带来各自领域和媒介的实践知识、思考并充实其中，同时组织多种形式的公众交流活动，这些交流也将是“颠倒车站”的穿行与停驻的一部分。

陈逸飞，游动的布袋戏说书人，夹山改梁Jasagala成员，刺纸编辑之一，以小志（zine）为起点实践DIY与自我组织。

Enno Li，名古屋大学文化研究专业的博士候选人。主要研究方向为东亚的女性主义当代艺术实践及其与行动主义的互动。同时，她还关注日本首都圈外的替代性空间与移民社群。

44月报是44剧场的延伸，源于新冠疫情流行以来的共同体验。44剧场自2016年起作为一个跨学科实践平台活跃运作，参与者分布在世界各地，包括策展人、艺术家、电影人、研究者、活动家、出版人、音乐人等，每个项目都由不同的团队组合进行协作。

, the artist collective 44 Monthly hosts a series of activations at the site of their installation, 

, located on the 4th floor of the museum. Here, members of 44 Monthly serve as "duty officers," guiding audiences into the discourses offered by the collective in their public program. These gatherings—ranging from theatrical performances to discussions around certain texts—invite people to join the collective's interconnected and iterative program, 

 a conversation between "duty officers" Chen Yifei and Enno Li who discussed the process and practice of restaging historical narratives through the art of puppetry, and what it might mean to use puppets as tools to translate, speak about, and process revolutionary stories oftentimes hidden from view.

In August 2025, with the support of the Lingxi Project—an initiative founded in 2023 by Emily Jin and Sharon Liu that develops writing and exhibition projects centered on art and translation—the artist Chen Yifei organized a three-night hand-puppet workshop at Bigakko, an alternative art school in Jimbocho, Tokyo. Participants from diverse backgrounds collectively studied historical materials, created their own puppets, and came together on the final evening to present a multilingual hand-puppet performance.

Their performance returned to and reimagined the Tokyo district of Jimbocho from one hundred years ago—a place where transnational networks of thought, culture, and revolution converged. Aliens, food, 

, and historical figures appeared in settings such as curry shops and cafés, discussing the circulation of food and ideas of free love, weaving together a dream that crossed borders and time.

Commissioned by the Rockbund Art Museum, 

 by 44 Monthly serves as a suture point, an archive, and a resupply platform within the "44 Universe." It is composed of overlapping planes from different times that constantly interfere with one another. The station’s name originates from a fragmentary exclamation: 

Scribbled on the wall by an unknown 44 participant traveling through time and space, this environment—simultaneously a railway station and a pier—assembles historical echoes and fragments of land and water transportation from the Pearl River Delta and various other regions.

Throughout the exhibition, several participating artists, writers, and researchers will serve as "duty officers" for "The Room of Moments, The Nook of Thoughts." They bring with them practical knowledge and reflections from their respective fields and mediums to enrich the space. Simultaneously, they organize various forms of public exchange programs, which in turn become part of the "passing through and dwelling" within the journey of 

Chen Yifei is a wandering hand-puppet storyteller, a member of the Jasagala (夹山改梁) collective, and one of the editors of Prickly Paper. Starting from zines, he practices DIY and self-organization.

Enno Li is a Ph.D. candidate in Cultural Studies at Nagoya University. Her research focuses on feminist contemporary art practices in East Asia and their interaction with activism. She also engages with alternative spaces and immigrant communities outside the Tokyo metropolitan area.

44 Monthly is an extension of Theater 44 and evolved from a shared COVID-19 experience. Theater 44 has been active since 2016 as a collaborative platform with participants located around the globe. Theatre 44 consists of curators, artists, filmmakers, researchers, journalists, activists and musicians, and each project involves different team constellations.

除了依靠展签和导览手册，我们如何阅读展览，如何观看作品？当解读被落在纸面，我们仍然希望脱离官方叙事，为公众提供更多基于个人经验的、主动的意义建构路径，鼓励来到展厅的观众从自己的经历和情感出发看待艺术家创作。 

2025秋冬双展正在展出，我们邀请了六位来自北京东路小学的一年级小学生加入导览员团队，在新年到来之际为公众呈现三场特别导览。没有标准答案，区别于传统的专家叙事，“我的美术馆故事”将呈现以学习者为中心的诠释。正如展览“伟大的掩饰”向公众介绍不被广为认识的黑人女性革命者，我们希望小小导览员通过担任展览的介绍者，为自己创造公共表达和发声的机会。 

在美术馆提供的专业支持下，小导览员们从自身的兴趣和视角出发，向公众介绍美术馆建筑，以及他们为观众精心挑选的2025秋冬双展作品。每场导览大约10分钟，不仅面向家庭观众，也面向成人观众。期待通过儿童的视角，启发各位找到那座自己与展览之间的亲密桥梁。 

此次“我的美术馆故事：2025秋冬展览少儿导览”受到上海市科技艺术教育中心“百展百课”项目支持。感谢北京东路小学陈老师和家长朋友在工作坊期间的耐心帮助。

Beyond relying on wall texts and brochures, how do we truly know an exhibition and interpret artworks in an exhibition? Even when interpretation is formalised, the museum should aim to move beyond reifying an official narrative, offering the public more pathways for personal meaning-making based on individual experience. We encourage visitors to approach artworks from their own unique backgrounds and emotions. 

For the FW25 exhibitions currently on view, we have invited six Grade 1 students from East Beijing Road Primary School to join the museum's guide team, presenting three special tours to the public as the new year approaches. Working against the expectation that museum tours disseminate standardized answers from experts, RAM's 

program practices a visitor-centered form of interpretation. Just as the group exhibition 

 introduces lesser-known female revolutionaries, we hope that by serving as art mediators, our young guides will create opportunities for their own public expression and agency. 

Supported by the museum's team, our young guides introduced the museum architecture and their personally selected works from the FW25 exhibitions, all from their own unique perspectives and interests. Each tour lasted approximately 10 minutes, was designed for families, and included adults as well. 

Telling Our Stories: FW25 Young Guides Program

 is generously supported by the "100 Exhibitions, 100 Lessons" project initiated by the Shanghai Science and Art Education Center. We extend our sincere gratitude to Ms. Chen from East Beijing Road Primary School and the participating parents for their patient support during the workshops.

上海外滩美术馆荣幸宣布展览“伟大的掩饰”即将呈现为期六场的学者专场导览。导览汇集来自上海及国际的学者、研究人员和文化工作者，他们将通过导览进一步扩写展览的关键主题：黑人性（Blackness）、女性主义、革命历史，以及黑人激进传统与中国之间的跨文化交流，并开启理解和参与展览作品的新方式。

这些学者专场导览将介于讲座和漫步式导览之间，为观众精炼展览中的知识节奏，提供充满活力的对话能量。

首场导览，上海外滩美术馆将与 中非上海国际网络（CASIN） 合作，迎来两位来自韩国延世大学的研究学者：Seoyoung Choi博士 和 Olivia Umurerwa Rutazibwa博士。在本次导览中，Seoyoung Choi博士的研究专长涵盖了国际关系、移民、翻译以及殖民遗忘等领域的去殖民与女权主义方法；而Olivia Umurerwa Rutazibwa博士则提出了“知识黑人性（epistemic Blackness）”作为一种方法论的理念，她目前的研究旨在探索去殖民学术如何才能摆脱看似强制性的欧洲中心主义。两位学者在导览中重新界定困扰东亚和非洲的帝国历史，以及西方和其他地区作为一种种族结构范畴的黑人性的产生与我们如何理解。Seoyoung Choi博士和Olivia Umurerwa Rutazibwa博士的导览开启了意想不到的视窗，帮助观众欣赏留在中国的黑人女性主义革命思想，以及它对整个地区产生的历史性影响。

Rockbund Art Museum is pleased to announce six specialist guided tours for 

. Bringing together academics, researchers, and cultural workers from Shanghai and internationally, these specialists will give tours that will expand upon the exhibition's key themes of Blackness, feminism, revolutionary history, and the intercultural exchange between the Black Radical Tradition and China, as well as open up new ways of engaging with and understanding the works on view. Somewhere between a lecture and a walkthrough, these specialist tours provide a dynamic discursive energy that punctuates, intensifies, and refines the intellectual rhythms of the exhibition.

For the first of these tours, Rockbund Art Museum is thrilled to announce the visit of a pair of researchers, Dr Seoyoung Choi and Dr Olivia Umurerwa Rutazibwa from Yonsei University, South Korea, in collaboration with the China-Africa Shanghai International Network (CASIN). In this tour, Choi's specialism spanning decolonial and feminist approaches to international relations, migration, translation, and colonial amnesia sits alongside Rutazibwa's, who has developed the idea of epistemic Blackness as methodology, and whose ongoing research explores the ways in which decolonial scholarship can untangle itself from a seemingly mandatory Eurocentrism. Together, in a dialogue that reframes the imperial histories that beset East Asia and Africa, as well as the production and understanding of Blackness as a racial-structural category in the West and further afield, Choi and Rutazibwa's tour opened up unexpected apertures to appreciate the legacy of Black feminist revolutionary thought in China, and the historical ramifications it may have for the region writ large.

在秋冬新展“伟大的掩饰”展览4楼空间，艺术家团体“44月报”创造了「颠倒车站」。展期内，44也将派出不同成员不定期驻守在现场，担任值班员，带领观众进入44场域与话语。ta们将策划并向观众呈现不同的公共项目，这些项目或带有剧场性、或聚焦于文本讨论，总之，值班员欢迎所有朋友来到现场，加入环环相扣的“颠倒之时”。 

11月8日，当期值班员潘赫邀请观众加入了一场城市夜游，从老西门出发，进入深秋华灯的暗面，走过百年前法语文本里的虚构上海。

In the fourth-floor space of the new exhibition 

, the artist collective 44 Monthly created 

. Across the exhibition period, they host a series of activations at the site of their installation. Here, members of 44 Monthly serve as "duty officers," guiding audiences into the discourses offered by the collective in their public program. These gatherings—ranging from theatrical performances to discussions around certain texts—invite people to join the collective's interconnected and iterative program, 

On November 8, duty officer Pan He invited audiences to take part in a nocturnal urban walk, departing from Laoximen and entering the shadowed underside of the city’s late-autumn lights, tracing a fictional Shanghai imagined in French-language texts from over a century ago.

在这个由裂缝与回声织成的秋冬之夜，我们邀请观众回到上海外滩美术馆，进入一个断裂的、不透明的物质与审美流通场域。正如苏珊娜·塞泽尔所言：“马提尼克的诗歌要么是‘食人’的（cannibal），要么就不存在。”——这里的“食人”，不是血腥的隐喻，而是把外来话语咀嚼、吞食、转化为自身力量的姿态。在吟唱、诵读与群像对谈的流动结构中，两档新展——“伟大的掩饰”与“彭祖强：一些省略、静默和不透明的声音”——以另一种触觉与听觉打开观看。

On this late autumn and early winter night woven with cracks and echoes, we invited the audience back to the Rockbund Art Museum to enter a fractured, opaque field of material and aesthetic circulation. As Suzanne Césaire remarked: “Martinican poetry will be cannibal or it will not be.”—Here, “cannibalism” is not a bloody metaphor but a stance of chewing, ingesting, and transforming external discourse into one's own power. Through a fluid structure of chanting, recitation, and collective conversation, the two new exhibitions—

—open vision to tactile and auditory experience.

秋冬新展之一“伟大的掩饰”已经开幕2周。在跨越美术馆共四层的多重空间内，展览为观众呈现了来自16位艺术家和团体的作品。在丰富的叙事中，动线似乎也变得不那么容易被看穿。 

整个展览像是一个剧场系统：有些作品需要观众静静等待银幕亮起、有些则需要观众主动拉开窗帘一探究竟。这些隐秘的观看规则引导观众走近作品背后的层次与细节，也同时指向本次展览核心的五位黑人女性革命者的故事——以加勒比作家苏珊·塞泽尔（Suzanne Césaire）为首，她们的思想同样正等待被重新发掘。 

为了帮助首次到访的观众进入展览所构筑的复杂历史与艺术世界，展厅中会出现戴着斗笠或披风的工作人员——他们便是“引路人（Conductors）”。“引路人”（Conductors）的称呼向废奴主义者哈里特·塔布曼（Harriet Tubman）致意——她曾在“地下铁路”中扮演至关重要的角色。这个由秘密路线和安全屋构成的网络帮助无数人在美国南部脱离奴役。当时，人们把参与“地下铁路”的人称为“乘客”和“引路人”。如今展厅里的“引路人”将以更生动的方式，把自由的勇气与智慧重新唤回现场。 

不同于常规展览一期一会的导览员，引路人更像是常驻空间内的乐团指挥，帮助观众串联展览中相互交织的影像、声音、表演与织物作品，针对性地引导大家的注意力，邀请观众发现作品的观看或聆听角度，触发进入作品的最佳“舞台时刻”。 我们欢迎各位观众在展厅中和引路人一起度过短暂历险，聊聊你的所见所闻。

在面对略显复杂的观看之道的同时，我们希望引路人为观众提供一种亲切的方法，创造属于自己的独特观展体验。


关于引路人的服装： 引路人的服装由展览艺术家 埃里克·麦克（Eric N. Mack）与设计师品牌SAMUEL GUÌ YANG利用回收布料合作完成。它们不是制服，而是工具，帮助引路人进行移动、引导的动作，也能在必要时保护自己。有些衣服能让人扩大自己的存在感——比如大轮廓、尖锐的肩部、夸张的造型；另一些则让人隐藏——像是面纱、带帽披肩，以及能部分遮挡脸部的罩面。

—a group exhibition spanning four floors at RAM—has now been open for two weeks. Featuring works from sixteen artists and collectives across multiple generations and geographic contexts, the exhibition contains many polyphonies and interconnections that might not be immediately obvious.

 is structured theatrically. Some works on view require us to wait for a screen to light up, whereas others demand active participation; like drawing back a curtain to investigate. These subtleties in the exhibition experience guide audiences toward appreciating the nuances behind the works, and, in doing so, demonstrate how the stories of the five feminist revolutionaries central to this exhibition are waiting to be discovered. To guide first-time visitors into the complex historical and artistic worlds of the exhibition, invigilators wearing bamboo hats or capes can be found throughout the museum; these are the "Conductors" of 

 Nodding to the abolitionist Harriet Tubman and her role in facilitating the Underground Railroad—a network of secret routes and safe houses used by people escaping servitude in the Southern United States—and the euphemism of 'passengers' and 'conductors' that described the people facilitating and participating in this passage to freedom, the museum's Conductors pay homage to the monumentality of this historical moment. Unlike traditional invigilators who might offer one-off tours, our Conductors are more akin to orchestral conductors: They string together and help unify the volume of video, sound, performance, and textile works that comprise 

. We invite all visitors to approach our Conductors to share their perspectives on the exhibition—to discuss what can be seen, heard, or imagined.

The attire worn by our Conductors was created collaboratively by 

 artist Eric N. Mack and Shanghai-based designer SAMUEL GUÌ YANG with recycled materials. These garments—at times with large silhouettes, sharp shoulders, and exaggerated shapes, and at others with hoods, veils, and drapes that partially obscure the face—are not uniforms but tools that aid our Conductors as they move around the museum.

“因此，超现实主义非但不抵触、削弱或转移我们对生命的革命情感，反而对其起到支撑作用。它在我们心中培育出一种急切的力量，持续不断地为这支庞大的“否定之军”注入动力。

——苏珊·塞泽尔（Suzanne Césaire）

上海外滩美术馆将呈现展览“伟大的掩饰”（ The Great Camouflage），汇集16位当代艺术家和团体，作品涵盖电影、录像、绘画、剧场、织物和及档案研究实践，探讨跨国黑人激进思想的物质与审美流通以及革命政治的边界。展览回应作家苏娜·塞泽尔维系 “否定之军”的号召，将当代艺术实践置入革命运动的遗产中考量。

加勒比作家苏珊·塞泽尔（Suzanne Césaire ，1913—1966）是本次展览的核心人物，展览的标题正源自她关于异议的论述。她的诗性创作和理论研究将超现实主义视作紧迫的艺术、智识和政治介入，探讨如何将殖民的效仿行径与和强加的西方框架重构为激进而具有解放意义的创作模式。正如塞泽尔在其重要文集《伟大的掩饰》（The Great Camouflage）中所指出的，她所属岛屿的自然美景掩饰了殖民暴力的残酷现实。本次展览的艺术家通过多样的美学劳动实践，揭示美、图像与表象如何与政治斗争及历史迁移紧密交织。如同黑人意识（Negritude）与超现实主义传统将诗歌、图像与梦境用作抵抗工具，参展艺术家亦将美学本身用作掩饰，由此唤醒、动员、并揭露权力掩盖真实的手段。

与此同时，本次展览聚焦多位黑人女性革命先驱，她们的生命轨迹在数十年间交织，构建起跨域大陆与时代的对话网络、团结形式及艺术-政治实验。其中，埃米·阿什伍德·加维（Amy Ashwood Garvey，1897—1969） 建立的泛非洲沙龙（Pan- African salons）与草根关系网是美学与政治实验的重要空间；埃斯兰达·罗伯逊（（Eslanda Robeson，1895—1965) 游走于好莱坞、外交领域与泛非网络，创作跨越国界的文化与政治作品；雪莉·格雷厄姆·杜波依斯（Shirley Graham Du Bois，1896—1977）将歌剧、电视及文化形式融入其国际主义行动；陈玉平（Grace Lee Boggs ，1915—2015）则将女性主义团结理念和基于社群的第三世界主义组织模式发扬成为关怀、知识生产与行动主义的集体形式。 

这些历史人物及其精神遗产嵌入二十世纪中叶更广阔的地缘政治图景——那是一个不同发展模式在“僵持的冷战世界”中互相博弈的时代。全球非裔思想奠基人W·E·B·杜波依斯（W. E. B. Du Bois，1868—1963）曾于1959年与1962年两度造访毛泽东 （1893—1976）领导的中国。他所见证的革命图景为黑人激进主义者提供了一种“有色人种”的第三世界马克思主义范式，并让人们相信，无需等待有利的“客观条件”即可采取革命行动。此后，毛泽东领导的中国在1963年与1968年通过官方声明确立了对非裔解放斗争的支持。1959年，作家、政治家郭沫若（1892—1978）策划安排了杜波依斯与毛泽东握手的标志性照片，促成了此次会面在象征意义和实际层面的条件，这也成为关于激进团结的持续文化想象中重要的一章。与此同时，新获解放的加纳首任总统克瓦米·恩克鲁玛（Kwame Nkrumah，1909–1972）也积极推动着亚非第三世界主义团结。这些联结既彰显了国际反帝国主义事业的志愿、张力与局限，也揭示了全球父权制地缘政治压力下跨国关系网络的脆弱与坚韧。

“伟大的掩饰”聚焦影像、织物与戏剧语言，将上述探索延伸至历史与虚构交织的政治和美学领域。织物作为一种迁移物质，是媒介，也是隐喻。它既追溯全球黑人群体与亚裔激进想象的触觉印记、离散群体的劳动迁徙与团结记忆，又反思种族化与阶级化的基础设施，以及等待着这些印记的”否定之军”。正如展览标题所提示的，我们既当审视种族化生存的物质条件，亦需关注反抗知识的代际传承。

上海外滩美术馆馆长及首席策展人朱筱蕤（X Zhu-Nowell）邀请来自边缘群体与多元背景的艺术家在这场展览相聚。朱筱蕤的实践根植于海外旅行者在中国的形象。朱筱蕤与艺术家、作家坎迪斯·威廉姆斯（Kandis Williams）的密切对话促成了本场展览的成型。坎迪斯·威廉姆斯是卡珊德拉出版社创始人，致力于将当代艺术实践与激进政治遗产以及黑人女性主义思想进行互文解读。二人共同将展览构筑为一个充满张力的空间，审视帝国主义如何破坏、割裂并重构了革命进程的各个阶段。

艺术家： 博茲·迪西奧·加登（Boz Deseo Garden）、本吉·拉（Bhenji Ra）、蕾妮·格林（Renée Green）、郝敬班、郝量、奥涅卡•伊圭（Onyeka Igwe）、尤里迪斯·扎伊图纳·卡拉（Euridice Zaituna Kala）、埃里克•麦克（Eric N. Mack）、阮俊（Tuan Andrew Nguyen）、Pope.L、考琳·史密斯（Cauleen Smith）、王恬（Christine Tien Wang）、王拓、张卓加（Charlotte Zhang）、卡珊德拉出版社（Cassandra Press）和44月报。

“So, far from contradicting, diminishing, or diverting our revolutionary feeling for life, surrealism shored it up. It nourished in us an impatient strength, endlessly sustaining this massive army of negations. 

 an exhibition brings together sixteen contemporary artists and groups working across film, video, painting, and textiles, alongside archival and research-based practices, to explore the material and aesthetic circulations of transnational Black radical thought and the limits of revolutionary politics. Drawing on Suzanne Césaire’s call to sustain an “army of negations,” the exhibition situates contemporary artistic practice within the afterlives of revolutionary movements.

The Caribbean writer Suzanne Césaire (1913-1966) appears as a central figure, whose writings on dissent give the exhibition its title. Her poetic and theoretical work offered surrealism as an urgent artistic, intellectual, and political intervention. She explored how colonial mimicry and imposed Western frameworks could be reworked into radical, emancipatory modes of creation. As Césaire observes in her important essay 

, her island’s natural beauty camouflages its harsh realities of colonial violence. The artists in this exhibition engage in forms of aesthetic labor that reveal how beauty, image, and surface are bound to political struggle and historical displacement. Drawing from traditions of Negritude and Surrealism—where poetry, image, and dream became tools of resistance—they use aesthetics itself as camouflage: a means of circulating awareness, mobilizing influence, and uncovering what power works to conceal. 

In parallel, this exhibition presents Black feminist revolutionary figures whose lives intersected across decades, creating networks of dialogue, solidarity, and artistic-political experimentation that spanned continents and generations. Amy Ashwood Garvey (1897-1969) cultivated Pan-African salons and grassroots networks that became vital spaces of aesthetic and political experimentation. Eslanda Robeson (1895-1965) navigated Hollywood, diplomatic, and Pan-African circuits, producing cultural and political work that traversed borders. Shirley Graham Du Bois (1896-1977) brought operatic, televisual, and literary forms into her internationalist activism. Grace Lee Boggs (1915–2015) extended feminist solidarity and community-based, Third Worldist organizing into collective forms of care, knowledge production, and activism.

These historical figures and their legacies are situated alongside the broader geopolitical entanglements of the mid-twentieth century, an era characterized by struggles between competing developmental models in a "stalemated Cold War world". W.E.B. Du Bois (1868-1963), a foundational figure in global African-American thought, traveled to Mao Zedong’s (1893-1976) China in 1959 and again in 1962. Du Bois met a revolutionary horizon that offered Black radicals a "colored" or Third World, Marxist model, which inspired belief in revolutionary action without waiting for favorable "objective conditions". Mao’s China later formalized its support for the African-American struggle in statements issued in 1963 and 1968. The iconic 1959 handshake photograph of Du Bois and Mao was staged by the Chinese writer and political figure Guo Moruo (1892-1978), mediating the symbolic and material conditions of this encounter as part of an ongoing cultural imaginary of radical solidarity. Concurrently, Kwame Nkrumah (1909–1972), the first president of a newly liberated Ghana, cultivated Afro-Asian Third Worldist solidarities. These connections illuminate the ambitions, tensions, and limitations of international anti-Imperial projects, revealing the fragility and resilience of transnational networks under global patriarchal geopolitical pressures.

 focuses on video, textile, and theatrical languages to extend these inquiries into political and aesthetic worlds—both historical and fictional. Textiles act as migratory materials, as both medium and metaphor, tracing the tactile inscription of global Black and Asian radical imaginaries, diasporic movements of labor, memory, and solidarity, while reflecting on the racialized and classed infrastructures and the “army of negations” that await these inscriptions. As the title suggests, the exhibition prompts reflection on the material conditions of racialized life and the transmission of insurgent knowledge across generations.

The exhibition emerges from X Zhu-Nowell’s curatorial invitation to center artists from marginal and diverse origins at the Rockbund Art Museum, where they are Executive Director and Chief Curator. Their tenure is marked by an immersion in the figure of the foreign traveler in China. The exhibition is developed in close intellectual and curatorial dialogue with artist and writer Kandis Williams, founder of Cassandra Press, a platform where contemporary artistic practices are read alongside the afterlives of radical politics and Black feminist thought. Together, they frame the exhibition as a space of oscillation—recognizing how revolutionary stages have been disrupted, fragmented, and reconfigured by imperialism.

Artists: Boz Deseo Garden, Bhenji Ra, Renée Green, Hao Jingban, Hao Liang, Onyeka Igwe, Euridice Zaituna Kala, Eric N. Mack, Tuan Andrew Nguyen, Pope.L, Cauleen Smith, Christine Tien Wang, Wang Tuo, Charlotte Zhang, Cassandra Press, and 44 Monthly.

上海外滩美术馆呈现中国艺术家彭祖强首个亚洲机构个展“一些省略、静默和不透明的声音”。彭祖强（1992年出生于中国长沙市，常驻法国巴黎）主要以影像为创作媒介，他的实践围绕电影与媒介历史，关注历史、身体和语言之间的情动共振。

“一些省略、静默和不透明的声音”尤为回应那些临时组建又突然断裂的媒介历史，展览的核心作品是在一件全新委任的三频影像装置《四散》（2025），灵感来源于上世纪六十至八十年代仅在中国流传的8.75毫米胶片格式。另一件影像装置《青园》（2022）则触及神秘运营的马来亚地下电台及其传闻。彭祖强使用实验电影手法创造抽象的视觉形式，尤其是在暗房中几乎纯手工的物影成像（photogram），进一步重组那些本就晦涩的记忆载体，从而挑战时基媒介的线性叙事，并追问摄影机与当代影像生产的伦理。这种手工电影的图像创作也隐喻着8.75毫米胶片的特性：具有实验精神却也脆弱——在六十年代的冷战愁雾之下国内资源匮乏，仍需为国家导向的流动放映计划创造独一无二的物质媒介。

 展览题目“一些省略、静默和不透明的声音”正是回应这样难以抵达的历史。展览由三件影像装置和一件显色印刷作品构成。在《青园》中，艺术家将家乡湖南、一位友人的东南亚装饰风格民宿、一段隐匿的地下电台史和一家国际主义人士短暂下榻的饭店虚构成一段若有若无的历史。马来亚地下电台于1969—1981年间在湖南益阳神秘运营，而几乎同时期，一种特殊规格的8.75毫米胶片也在中国用于电影放映。在新作三频道影像装置《四散》中，艺术家建构了一个以抵抗历史失忆的记忆场域。他将手工印刷的8.75毫米档案胶片与以超8摄影机拍摄的若干素材拼凑出从胶片发明到农村流动放映的零散叙事。媒介学研究将8.75毫米胶片看作是国家主导的生产工具；而在这种具有操控性的视角之外，彭祖强更关注媒介本身的抵抗性修辞，以此反思历史的局限性与档案的不可抵达。8.75毫米胶片本身具有实验性的基因：这个特殊规格的胶片格式在诞生之初便没有与之适配的摄影机，彼时偏远地区的电影放映仅通过拷贝和特别的缩印制作来流通。换句话说：8.75毫米胶无法通过拍摄生产新的影像记忆——被视作是抵抗生产的“无相机”媒体。

而无相机图像的当代意涵是什么？彭祖强思考图像生产与传播所隐藏的权力结构与暴力，转而回到影像的光化学形式。步入展厅的首件作品《似曾相识》（2023—2024）是艺术家第一次完整使用物影成像的影像处理技法：通过抽动一条3米长的金属绳索在16毫米胶片上直接曝光。而这样的物影成像的过程在《四散》中得到了进一步的实验，他将 8.75毫米档案胶片卷直接接触曝光到16毫米与35毫米彩色印片胶片上。通过对光线、色彩与化学层面的控制，最终显影成不断变幻的抽象图像——由此隐喻胶片作为情动媒介所具有的亲密性与挑衅性。当下，关于流动胶片放映的记忆正逐渐淡去；然而，官方记录之外那些隐秘的情感与带有异议的道听途说，却在彭祖强的展览中产生了共鸣。

The Rockbund Art Museum presents Chinese artist Peng Zuqiang’s first institutional solo exhibition in Asia: S

. Working primarily with moving image and installation, Peng (b.1992, Changsha, China), based in Paris, experiments with the history of film and media, with an attention to the affective resonance within histories, bodies, and language. 

The exhibition responds to the improvised and abrupt fractures characteristic of short-lived and ephemeral media histories, such as the unique 8.75 mm film format that circulated in rural China from the 1960s to 1980s in Peng’s newly commissioned centerpiece 

 (2025), as well as the underground Malayan radio station featured in another video installation 

 (2022). Peng further rearranges ambiguous carriers of memory by experimental film techniques that create abstraction, such as the handmade “photogram” process in the darkroom, thus challenging the linear narratives of time-based media while questioning the ethics of camera and contemporary image-making. The handmade cameraless photographic process itself acts as a mirroring gesture, reflecting that the invention of 8.75 mm film was an experiment for the state-led portable film screening project. The fragile nature of the 8.75 mm projector also speaks for the limited material resources in China, enshrouded by the gloom of the Cold War. 

The exhibition is composed of three film installations, and one chromogenic print. In 

, the artist weaves a fictional history, drawing from his home province of Hunan, the forgotten history of an underground radio station, a friend’s Southeast Asian-styled Airbnb, and a hotel where rumoured revolutionaries briefly stayed. The clandestine radio station Voice of the Malayan Revolution operated out of Yiyang, in Hunan Province, from 1969 to 1981. Almost concurrently, a unique 8.75 mm film format was widely used for mobile film screenings in rural China. In the newly commissioned three-channel video installation 

, the artist presents a “site of memory” for resistance to historical amnesia. He juxtaposed hand printed archival 8.75 mm films with footage shot on Super 8 to assemble a disjointed narrative that extends from the invention of this specific film format to the now-unrecognizable film printing factories, as well as mobile projections in the countryside, border lands and other rural regions. In media studies, 8.75 mm film is remembered as a state-led production tool. Peng focuses instead on the resistant rhetoric of the media itself, thereby reflecting on the limitations of history and the inaccessibility of archives. The film stock is experimental by nature: at its inception, the 8.75 mm standard had no corresponding camera, and its circulation for screenings in remote areas relied on a process of reduction printing from other film format copies. In other words, since 8.75 mm film could not produce new visual memories through filming, it can be seen as a “cameraless” medium resisting production. 

But what contemporary meanings do cameraless images possess? Peng Zuqiang reflects on the power structures and violence hidden in the production and diffusion of images and returns to their photochemical form. The first piece the viewer sees upon entering the exhibition is 

 (2023–2024), the artist’s first complete use of photogram techniques: he directly exposed a 30-meter-long metal wire onto 16 mm film. This process of photogram was further experimented with in 

, where he exposed 8.75 mm archival film reels on 16 mm and 35 mm color print stock. With controls in light, color and chemicals to manually bring out a shifting, abstract imagery—this becomes a metaphor for the intimacy and provocation of film itself as an affective medium. Today, memories of mobile film screenings are gradually fading, yet the hidden emotions and dissenting rumors outside of official records find a resonance in Peng’s exhibition.

上海外滩美术馆邀请曼谷建筑事务所all(zone)策划第二届外滩建筑节（RAM assembles）。今年，这场探讨建筑思考的双年盛会以“上海野餐”为题。我们以“野餐”这一开放、临时、灵活而集体性的形式作为隐喻，希望这一届的公共项目可以展开新的对话——关于如何建设、如何共居、以及如何适应与转化，并通过艺术家共创工作坊、表演和建筑师讲座等多样形式的活动，构建一个新的让人们可以倾听和交流的平台。这些激发跨界协作、创意实验与社区参与的项目活动在洛克·外滩源街区内全日段开展，各具焦点。 

吐出的祭台是一个为期三天的参与式艺术项目，包括两天共创工作坊和一场表演性讲座。 口香糖在口中是清洁口气的工具，一旦越出唇齿，便转为“污秽”，如同城市建筑的牙垢，黏附在非应有之地。人类学家玛丽·道格拉斯说过：“污秽的本质，是物不在其位。” 

然而在非现代城市的语境中，口嚼物也可以是神圣的媒介：东亚与南美女性以口嚼发酵酿造圣饮；非洲沃洛夫族用唾液承载语言的灵力；蜂巢蜜由蜜蜂口嚼而成，是口腔建构的建筑母体。 

无意识的丢置将物归为污秽，若以仪式与创造性的介入将意图带回当下，“污秽”则转化为祈愿、赠予，甚至成为一种新的资源想象。 在工作坊中，参与者咀嚼不同时空的口香糖（洋乳香、丁香、松胶、葛根等）及可咀嚼的异食癖材料（土块、纸张），并口嚼蜂吐建筑—蜂巢蜜制蜡，用吐出的材料结合城市废弃建筑碎片等材料，在外滩美术馆周边缝隙中为边缘的“精灵妖怪”筑坛设庙。 

表演性讲座结合分享会、行为剧场与声音艺术，在跨文化的神话民俗与都市实践之间探索“污秽”与“再生”的建筑潜能，讲着讲着、嚼着嚼着，当语言咀嚼成混沌、被消化成字词成型前的糊状物，“口水仙人”便从口齿显灵，穿梭于共同筑起的祭台。 

在此，我们重新召唤与“污秽”的关系，想象一种吐息般的建筑原型：以身体感知为基石，以唾液为灵媒，使建构不再依赖静止的线性结构，而如发酵般在流动中温柔地转化与再生。



关于团队：

「透明的下午」是一个注重在地实践的跨学科艺术小组，在日常的真实中松动既定规则，召唤柔软的相遇。从聋听融合、性别议题、生态仪式、到技术反制…透明的下午在不断流动的实验中成型。我们漫游于社群空间、艺术场所、城中村、森林、迪厅和每一次手指相触之间….

丁佳悦 （胖丁）是一名跨学科艺术家和组织者，毕业于UCLA社会学与艺术史专业。她关注灵性行动主义(Spiritual Activism)与身体政治，以日常或奇幻的方式，融化权力的僵化界限，穿梭规则和维度的边境，并与多元伙伴共同实验去中心与无障碍的场域。

Vis毕业于伦敦切尔西艺术学院，是一名跨媒介创作者，表演/行动者，调酒师。其实践关注身体感知与社会结构的关系，聚焦于边缘经验与感知机制如何在制度性权力中被构建与显现，并用具身的经验构思和创造新的规则。

Bangkok-based architecture practice all(zone) directed and curated the second edition of 

—the Rockbund Art Museum, Shanghai’s biennial festival of architectural thinking. This year’s edition, themed “Shanghai Picnic,” adopted the idea of a picnic as a grounded, open-ended, flexible, and collective framework to foster new conversations about how we build, how we live, and how we adapt. Through artist-led co-creation workshops, performances, and public talks, the festival offered a space for coming together—for listening, exchanging, and building new ways of being in common. Over two weeks, these events unfolded across the ROCKBUND neighborhood, encouraging collaboration, experimentation, and community engagement.

 is a three-day participatory art project by artist duo Transparent Afternoon, consisting of two workshops and one lecture performance. 

When held in the mouth, chewing gum serves to freshen breath; once it is spat out, it becomes “filth”—architectural plaque clinging to spaces where it does not belong. As anthropologist Mary Douglas wrote, “Dirt is matter out of place.”

However, in non-urban contexts, chewed substances can serve as sacred mediums of creation. In East Asia and South America, women's chews are used to ferment ritual beverages. Among the Wolof people in Africa, saliva carries the power of blessing. In nature, bees’ oral secretions form honeycomb—a primordial architecture born from the mouth. 

When discarded unconsciously, matters are marked as filth. Through ritual and creative intervention, "filth" transforms into blessings, offerings, and new imaginations of resources. 

In the workshops, participants chewed different gums (such as frankincense, clove, pine resin, kudzu…) alongside “pica” materials (soil, paper), and bee-spit architecture—honeycomb, to make spit candles. By combining chews with fragments of urban ruins, we invited participants to build altars and place them in the crevices around the exterior of Rockbund Art Museum, as offerings for the spirits that dwell in the margins of urban architecture. 

The lecture performance weaves together public talk, theater, and sound art. It navigates between cross-cultural folklore and urban practice to examine the potential of filth and renewal. As language is chewed into chaos, digested back into a pulp before words are fully formed, the Saliva god manifests through the moving mouth, wandering among the altars all built together. 

Together, we seek to re-summon our relationship with “filth”, envisioning a fluid, breath-like architectural language, activated not through permanence, but through perception and action, unfolding as a process of fermentation and regeneration.

Transparent Afternoon is an interdisciplinary art collective rooted in local practice. Through playful interventions in everyday social settings, we create transparent, inclusive spaces for dialogue, exploring alternative visions of the world, embracing creative responses to socio-political questions, and fostering truthful encounters with ourselves and others in the present moment. 

From Deaf-hearing inclusion and gender issues to ecological rituals and technological resistance, Transparent Afternoon takes shape through ongoing, fluid exploration. We roam across community spaces, art venues, urban villages, nightclubs, mountains, and in between every touch of a finger…

Jia Yue Ding is an interdisciplinary artist and cultural organizer. Jia’s practice is rooted in Spiritual Activism, exploring the intersection of transcendental awareness, body politics, and social action. She works along and beyond the established rules and lived realities, dissolving the boundaries imposed by systems of power through playful, everyday yet mystical approaches.

Vis graduated from Chelsea College of Arts, London, and is an interdisciplinary creator, performer/activist, and bartender. Their practice explores the relationship between bodily perception and social structures, focusing on how marginalised experiences are shaped and made visible within systems of power and mechanisms of perception. Through embodied experience, they conceive and create new rules.

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通过邀请各个具有DIY精神的素人摊主在外滩美术馆建筑节的市集上集结，将民间的珍稀乐趣、Cedar社群间的活力与生命力、摆摊市集的灵活开放氛围重新带入钢筋水泥之间。以一种群众自发的、切合群众实际需求的方式，引入人与人之间随机相遇的交流、互动与温度，不只关乎物质交易与闲置循环，更有因爱好而互相聚集的惊喜社交。对于外滩建筑节来说，Cedar市集项目也是一场充满人际连接的上海市集野餐，在正式威立的宏伟建筑群间，触及建筑灵魂的亲密与自由，在坚硬理想的公共空间庇护下，轻松愉悦的氛围里，人们脆弱而真诚的感情得到展露和生长。 

切合野餐主题，本次市集配合以安心美味的便携餐饮，利用多样循环材料手工自制的装饰工艺品，留心生活专注爱好深耕得来的稀奇小藏品，原创可爱设计DIY制作的美观生活用品，专业领域以长补短的电脑维修/电子乐器改造、奇思妙想具象化而成的美丽装饰等。

Cedar Kitchen位于上海市巨鹿路272号，店内供应阿拉伯美食饮料，举办不限形式的活动，如无需报名/自由摆摊的闲置市集、DJ/乐队类音乐现场表演活动。活动和空间曾受到上海日报、Radii Media、Time Out Shanghai等媒体的推荐和介绍。

By inviting individual vendors with a DIY spirit to gather at the Rockbund Art Museum assembles' market, the rare joys of the local community, the energy and vitality of the Cedar community, and the flexible and open atmosphere of a street market are brought back to the concrete world. In a spontaneous, community-driven way that meets the needs of the people, the event fosters the exchange, interaction, and warmth of random encounters. This not only fosters material exchange and the recycling of idle items, but also creates unexpected social interactions driven by shared interests. For RAMa, the Cedar Market is a "Shanghai Picnic" filled with interpersonal connections. Amidst the formal architecture, one encounters the intimacy and freedom of the architectural soul. Under the shelter of a solid, ideal public space, in a relaxed and joyful atmosphere, people's fragile yet sincere emotions are revealed and nurtured. 

In line with the picnic theme, this market featured safe and delicious portable meals, handmade decorative crafts made from a variety of recycled materials, rare collectibles acquired through careful attention to life and hobbies, beautiful daily necessities made by DIY using original and cute designs, computer repair/electronic instrument modification that makes up for one's shortcomings in professional fields, and beautiful decorations that are the embodiment of creative ideas.

Located at No. 272 Julu Road, Shanghai, Cedar Kitchen serves Arabic food and beverages and hosts any form of activities, such as idle markets with no registration/free stalls, and live DJ/band music events. The event and space have been recommended and introduced by Shanghai Daily, Radii Media, Time Out Shanghai and other media.

“行走的建筑”是从建筑、身体、服装这三者的联系中提炼出的参与式剧场表演，灵感来源于奥斯卡·施莱默（Oskar Schlemmer）主持包豪斯剧场时期身体和空间有机关系的理念。此作品注重对空间、人体、动作、建构与色彩等多媒介关系的深入探索，在实践过程中试图诠释表演的 “创造性建构”。 自作品面世以来，已在国内多个城市的美术馆、博物馆、剧场、社区、学校等公共场所上演数十场。任何人都可以走入这个现场，将日常想象力融入集体营造的“流动空间”中，使得身体与空间感知得以延伸与交汇，创造出独特的艺术体验，同时也使艺术、建筑与生活的边界在互动中逐渐消融。 

在本次外滩建筑节中，王子月延续这一理念，将“行走的建筑”的概念呈现扩展至上海外滩的四条巷道中，参与活动的孩子们“身穿”自己搭建的“建筑结构”与巷子中的建筑装置共构为新的建筑体，自由穿梭于巷道之间，在游戏与互动中生成全新的空间形态，使现场焕发出新的生机与活力。活动结束后，工作坊鼓励参与者们将这些临时搭建的建筑体带离现场，将外滩的“流动空间”延伸至上海城市的各个角落。

王子月 艺术家，剧场导演，Capsule Mall创始人。以其多种面向的艺术实践关注人的境况，在包括剧场表演、影像、装置、绘画和社会性艺术作品序列中探索当下社会现实问题和人的生存状态。

作为Capsule Mall实验剧团的创始人，通过近十年实践，试图重建一套“跨媒介游戏剧场”的实践方法论和教学理论。于2019年受邀为“浙江省教育厅艺术委员会全省优秀中小学美术教师培训计划”设计授课课程和创作实践。

"Walking Architecture, Moving Spaces" is a participatory theater performance derived from the connection between architecture, the body, and clothing. It is inspired by the concept of the organic relationship between body and space from Oskar Schlemmer's time leading the Bauhaus theater. This work focuses on in-depth exploration of the multi-media relationships such as space, the human body, movement, construction, and color. In its practice, it attempts to interpret the "creative construction" of the performance. Since its debut, the work has been performed dozens of times in public spaces such as art museums, theaters, communities, and schools in several cities across the country. Anyone can enter this scene and integrate their daily imagination into the collectively created "flowing space", allowing the perception of the body and space to extend and converge, creating a unique artistic experience. At the same time, it gradually dissolves the boundaries between art, architecture, and life through interaction. 

In this year's RAMa, "Walking Architecture" was exteneded into the four alleyways of the ROCKBUND in Shanghai. The children who participated "wore" the architectural structures and form new constructs with the buildings in the alleys. They have moved through the alleyways, generating entirely new spatial forms through games and interaction, thus bringing new life and vitality to the site. After the event, we encouraged participants to take these temporarily constructed architectural bodies away from the site, extending the "flowing space" of the ROCKBUND to every corner of Shanghai.

Wang Ziyue Artist, theater director, founder of Capsule Mall. She has always been focusing on the human condition with her multi-faceted artistic practice, exploring current social realities and human existence in sequences including performance, video, installation, painting and social artworks. 

As the founder of the Capsule Mall Experimental Theater (founded in 2016), she attempts to create a set of theories and teaching methodologies for “Multi-media Gaming Theater”, and in 2019, she was invited to design a course and creative practice for the “Art Teacher Training Program” organized by the Art Committee of the Education Department in Zhejiang province.

上海外滩美术馆邀请曼谷建筑事务所all(zone)策划第二届外滩建筑节（RAM assembles）。今年，这场探讨建筑思考的双年盛会以“上海野餐”为题。我们以“野餐”这一开放、临时、灵活而集体性的形式作为隐喻，希望这一届的公共项目可以展开新的对话——关于如何建设、如何共居、以及如何适应与转化，并通过艺术家共创工作坊、表演和建筑师讲座等多样形式的活动，构建一个新的让人们可以倾听和交流的平台。这些激发跨界协作、创意实验与社区参与的项目活动在洛克·外滩源街区内全日段开展，各具焦点。

“啡常城市：咖啡渣城市野餐计划”试图透过咖啡渣这一社会生产链条的剩余物，窥见现代主义城市中关于文化、生态与集体的一部分普遍运作模式。在此基础之上，项目以公众的参与式空间创作从宏观解决方案控制下的被动产物出发，希望通过观察、反思及主观重构以重拾一种独特的集体与个体的主动权。 

项目的参与者一方面对于外在的现实需求、城市空间、文化生态等作出反思性的创意观察，而另一方面对于自身作为都市居民的集体生活、共处方式、个体重构等，也得以从日常甚少涉及的跨界实验视角体会感受。从物质角度而言，参与者将亲自创作具象与抽象结合的映射现实的艺术作品，而从非物质角度而言，参与者将从观察与理解现代都市的多样现实属性，进而思考并再构其内在的个人转变。 

四场工作坊回应本次建筑节关于“集体”、“流动”与“共在”的讨论及探索，项目以关于消耗与剩余的日常产物结合城市野餐这一适应性反思，探讨建设与革新、城市与集体及资源与气候之间的关系，希望唤起参与者关于建筑与城市空间中集体生活意义的重新审视与构想，以及对于跨界协作与创意实验的社区式参与，从而在宏观现代主义的“普遍解决方案”之下，以创造性的相聚鼓励并促进人们探讨都市生活的共处新模式。

结合在数字化创作、构筑物装置、空间艺术化概念重构及都市主义创新方面的丰富经验，JXY Studio 的每个项目都立足于逻辑化研究与创造性实践。艺术家从岭南丰富的文化底蕴及东西方文化的交汇中汲取灵感，并以这种独特的视角推动建筑与艺术的跨学科探索。 

JXY Studio 获 Architizer A+Awards 2025 最佳微型公司入围奖，第三届筑事奖年度入围人物奖，IDEAT 理想家第七届未来大奖年度设计新力量入围，Design Anthology 设计选集大奖 2024 新锐人才入围。工作室的两位合伙人同时担任广州美术学院校外导师，参与通识核心课程及建筑设计课程的教学与研究。

徐越以高等荣誉获得美国密歇根大学城市设计硕士学位，拥有华南理工大学建筑学学士学位并专修城市设计方向。 

徐嘉迅获美国康奈尔大学高级建筑设计硕士学位，拥有华南理工大学建筑学学士学位并专修历史建筑保护方向，以及纽约电影学院电影制作文凭。

 attempts to see through the remnants of the social production chain of coffee grounds, a part of the general operation mode of culture, ecology and collectivity in modernist cities. On this basis, the project starts from the passive product under the control of macro solution and takes public participatory space creation as the starting point. It hopes to regain a unique initiative of collective and individual through observation, reflection and subjective reconstruction. 

Participants in this project were afforded the opportunity, on the one hand, to engage in reflective and creative observation of external realities—such as urban spatial configurations, cultural ecologies, and material needs—while, on the other, to experience and contemplate, from the rarely encountered vantage point of cross-disciplinary experimentation, the dynamics of collective life, modes of coexistence, and individual reconstruction as urban dwellers. From a material perspective, participants will create artworks that fuse figuration and abstraction to reflect lived reality. From an immaterial perspective, they will explore and interpret the diverse attributes of contemporary urban life, thereby prompting critical thought and reconfiguration of their own inner transformations. 

Responding to this festival’s thematic inquiry into collectivity, flow, and being-together, the four workshops approach the interrelationship between construction and renewal, the city and the collective, and resources and climate through an adaptive reflection on consumption and surplus, combined with the urban picnic as a performative frame. It aspires to prompt participants to re-examine and reimagine the significance of collective life within architectural and urban contexts, and to encourage community-based engagement in cross-disciplinary collaboration and creative experimentation. In doing so, it seeks to generate inventive gatherings that, beneath the overarching paradigm of modernism’s universal solutions, foster dialogue on new modes of cohabitation in contemporary urban life.

Combined with extensive experience in digital creation, spatial installation, artistic re-conceptualization of space, and innovative urbanism, each project of the studio is grounded in both logical research and inventive practice. Drawing inspiration from the rich cultural heritage of Lingnan and the intersection of Eastern and Western cultures, JXY Studio uses this unique perspective to fuel the interdisciplinary explorations of architecture and art. 

JXY Studio has been named a Finalist for the Architizer A+Awards 2025 Best Micro Firm, the Best Building & Story of China Annual Creators, the 7th IDEAT Future Award Design New Power, and the Design Anthology Awards 2024 Emerging Talent. The two founding partners also serve as adjunct faculty at the Guangzhou Academy of Fine Arts, actively engaging in the teaching and research of core general education and architectural design courses. 

Yue received her Master of Urban Design with high distinction from the University of Michigan and her Bachelor of Architecture from the South China University of Technology with a specialization in Urban Design. 

Jiaxun holds a Master’s degree in Advanced Architectural Design from Cornell University, a Bachelor of Architecture from the South China University of Technology with a specialization in Historic Building Conservation, and a Filmmaking diploma from the New York Film Academy.

县城——“洄游的，悬浮的”关注县城空间与青年社群的关系，探索青年如何在零散、悬置的县城环境中通过在地实践重建公共性。县城如同在建的楼宇，搭着手脚架，都市、乡土、历史与偶然碎片不断碰撞、融合、平衡，却难以凝固成整体。雷蒙·威廉斯在《乡村与城市》中指出，城市与乡村并非“作为单数的存在”，二者之间存在“多样中介和新形式的社会组织”，而所谓的“空间”，本质上是意识形态与权力关系的建构产物——县城的悬浮与未定正体现了这种中介性与建构性。县城青年既不同于城市青年，也不同于乡村青年，他们生活在城乡交界，穿行于二者之间，在都市文化与乡土经验的双重实践中塑造身份，并在迁徙与返流的洄游路径中寻找落脚点。阈限理论指出，这种介于既有秩序与新秩序之间的模糊状态，是身份形成与社会实践同时面临不确定性的体现。卡夫卡《城堡》中的K在无法进入的城堡前回望家乡教堂尖塔，这一意象映照出青年在悬浮空间中的困境——既能感知秩序与潜力，也受结构限制所困。本项目试图通过田野观察、空间实践与青年参与，探索县城青年在城市小空间中形成社群、激活公共性的路径，并尝试提出在地实践策略。

【分享与讨论】街猫：县城里的御宅文化调研

“谷子经济”在近些年来逐渐崭露头角。御宅文化在国内的三四线城市乃至于小县城也逐渐遍地开花。然而就像中世纪天主教会一般，相比于和“异教徒”的矛盾，御宅族内部的“异端”冲突常常更甚。新御宅族，特别是县城里的新御宅族和传统的老御宅族几乎变成了两个完全不同的存在。从福建小县城而来的街猫，他是一位工作和生活于多个大城市，最终回到老家漳浦县城的三十岁传统阿宅。他想尽可能的，用相对客观的视角来讲述“御宅”这一亚文化在国内的发展，以及他所见所闻的县城御宅生活，探究御宅族的精神状态与产生此类精神状态的成因。

【工作坊】住所无定：县城青年空间分享及家乡公共生活地图手工书工作坊

Zine，来自英文magazine，意指一种由私人或团体制作的小小读物，它简单、自由，可以涵盖任何主题，任何叙事。这次的工作坊灵感来自「住所无定」的伙伴狗毛创作的一本小zine——用文字、图像与手工，讲述奶奶在台州老家做工、生活的故事。一张街道照片、一个公共空间、一段真实的故事，就能把个人的片段拼贴成一本关于家乡的“公共生活地图”。正如位于湖南西北部的慈利县「住所无定」，试图将县城经验与更多地方的想象连接起来，成为新的青年空间。我们希望由此展开讨论：如果回到你的家乡，它的公共生活会是什么样子？

【分享与讨论】Hotbox热盒子：后疫情时代返县创业——以“家”为出发点的咖啡馆

“HotBox热盒子”在2023年诞生于福建诏安县，一个不起眼的边陲小城。空间并不大，只有三十平，灵感来源于国蛋的一首歌曲，HotBox是在描述一个舒适的密闭环境，像是下了班后卸下伪装独自坐在车里听着自己喜欢的音乐一样。Par与以牙在后疫情时代背景下双双离职，回到县城，以家为出发点成立了这个咖啡商店。这一次他们与大家聊一聊在后时代县城创业感受与观察。

【工作坊】jeje：重新编织——闽南渔村女性叙事与劳作&渔网袋编织工作坊

我们基于社会构造出来的海，总是充满浪漫想象。福建漳州虽然是闽南海岸线最长的城市，但除了个别几个旅游景点之外，海几乎是用来于养殖，交换生计。在这里，大海是牡蛎柔软的肉，生活是牡蛎赤贫的壳。生长于漳州漳浦县渔村家庭的jeje，小时候会跟在村里妇女后面，学习编织牡蛎专用渔网袋、串牡蛎壳等劳作赚取零花钱。 本次工作坊从jeje的家乡漳浦霞美镇，以渔村生活经验出发，与大家分享她在渔村的所见所闻：关于海鲜养殖、也关于女性劳作，并且与大家一起动手制作酒袋，某种程度上酒也是有时髦和社交属性，很适合上海。参与者现场选择自己喜欢的配色进行编织，jeje先做好了开头比较复杂的部分，接着由参与者自行完成后续的编织。另外，jeje准备了一瓶自然酒作为成品的拍摄道具，欢迎工作者和参与者都喝一杯。

 explores the relationship between county-town spaces and youth communities, asking how young people rebuild publicness through local practice in fragmented, suspended environments. County towns resemble unfinished buildings urbanity, rurality, history, and chance collide and interweave, yet resist forming coherent wholes. As Raymond Williams observed in The Country and the City, city and countryside are not singular entities but connected by "multiple mediations and new forms of social organization," with "space" itself a construct of ideology and power. The suspension of county towns exemplifies this intermediary nature. County-town youth are neither fully urban nor rural; living between both, they move between urban culture and local experience, shaping identities through each, and seeking anchorage through cycles of migration and return. Turner's liminality theory frames this in-between state as a moment of uncertainty in both identity and practice. In Kafka's The Castle, K—unable to enter the castle—looks back at his hometown church spire, a metaphor for youth in suspended spaces: sensing order and potential but constrained by structures. Through fieldwork, spatial practice, and youth participation, this project examines how small urban spaces can host communities and public life, and seeks grounded strategies for in-situ practice.

[Talking & Discussion] Street Cat: Otaku Culture in County Towns 

The so-called "merch economy" has gradually emerged in recent years. Otaku culture has also been blossoming across China’s third- and fourth-tier cities, and even in small county towns. Yet, much like the medieval Catholic Church, the conflicts within the otaku community often outweigh those with "outsiders." The new generation of otaku—especially those in county towns—has almost become a completely different existence compared to the traditional "old-school" otaku. Street Cat, who comes from a small county in Fujian, is a thirty-year-old traditional otaku who has worked and lived in multiple big cities before returning to his hometown, Zhangpu County. He hopes to narrate the development of this subculture in China from as objective a perspective as possible, and to share what he has seen and experienced about otaku life in county towns. He also explored the mental states of otaku and the causes behind these psychological conditions.

[Workshop] ZHUSUOWUDING: County Youth Spaces & Hometown Public Life Map Zine Workshop

, refers to a small self-published booklet that is simple, free-form, and open to any theme or narrative. The inspiration for this workshop comes from a zine created by Goumao, a member of “ZHUSUOWUDING”, which tells the story of their grandmother’s work and life in their hometown of Taizhou through text, images, and handmade elements. A single street photo, a public space, or a true story can piece together fragments of the personal into a “public life map” of one’s hometown. Similarly, ZHUSUOWUDING in Cili County, Northwestern Hunan, seeks to connect county-town experiences with broader imaginations, becoming a new kind of youth space. We invited participants to discuss: if you return to your hometown, what might its public life look like?

[Talking & Discussion] Hotbox: County-town Entrepreneurship in the Post-Pandemic Era—A Cafe Starting from “Home”

"Hotbox" was founded in 2023 in Zhao’an County, Fujian, a small, remote town. The space was modest, only about 30 square meters, and drew inspiration from a song by Soft Lipa. Hotbox describes a cosy, enclosed environment — like sitting in your car after work, shedding pretence, and listening to your favorite music. Against the backdrop of the post-pandemic era, Par and Yiya both left their jobs and returned to their county town, founding this café with 

 as their starting point. In this session, they shared their reflections and observations on county-town entrepreneurship in the post-pandemic era.

[Workshop] jeje: Re-weaving—Narratives of Women in Minnan Fishing Villages & Fishing Net Bag Workshop

The sea, as constructed in our social imagination, is often full of romance. Yet in Zhangzhou, Fujian — a city with the longest Minnan coastline—apart from a few tourist sites, the sea is mainly for aquaculture and livelihood. Here, the sea is the soft flesh of oysters, while life is the impoverished shell. Growing up in a fishing village family in Xiamei Town, Zhao’an County, jeje learned from village women how to weave oyster net bags and string oyster shells to earn pocket money. 

This workshop started from jeje’s hometown experiences in Xiamei, shared stories of aquaculture and women’s labor, and invited participants to join in weaving wine bags. In a way, wine carries a fashionable and social quality that resonates with Shanghai. Participants chose their preferred colors for the weaving. To accommodate time, jeje prepared the more complex beginning parts in advance, and participants completed the rest. A bottle of natural wine also was provided — both as a prop for documenting the finished works and as a drink to be shared among the staff and participants.

看见城市图绘工作坊，由“城市杂音”提供基于扬·盖尔的公共空间质量评估体系的城市观察工具包，组织公众参与到了公共生活调研中，通过记录在外滩建筑节期间人们是如何自发使用外滩源周边的街道、广场等公共空间，和艺术家装置的互动，揭示那些设计师没想到的真实需求，共创“外滩源公共空间观察报告”。 

扬·盖尔的公共空间质量评估体系，是人本主义城市设计的核心工具，它结合城市设计学科的理论依据及人类学的田野调查方式，让公众通过“用脚投票"的真实行为数据，简单明了地参与到公共空间的规划、设计及评判中，这种图绘成果反之也是对城市决策者重要的反馈机制。 

工作坊结束我们邀请了不同背景的人们一起分享他们对空间的体验，观察和感悟。


柏杨，看见城市系列活动发起人，城市杂音Urban Noise创始人，关注人本主义城市设计，喜欢研究各种人类和各种空间的关系。曾任澳大利亚维多利亚州政府城市设计师，期间与盖尔建筑事务所(Gehl Architects)合作并主导了墨尔本地铁环线站城片区的公共空间与公共生活调研。主要经历有地铁站城片区城市设计，20分钟社区项目，墨尔本宏观规划(PlanMelbourme)，,墨尔本NGO组织Architects for Peace活动策划师，公益项目设计师。2025年9月她将开始城市漂流计划 一在全国各个城市进行城市观察，公共艺术共创活动。

The Seeing the City Mapping Workshop is organised by Urban Noise and provide a city observation toolkit based on Jan Gehl’s Public Space Quality Assessment System. It engaged the public in research on public life by documenting how people spontaneously use streets, squares, and other public spaces around the ROCKBUND area during RAM assembles. Participants also observed interactions with artistic installations, revealing real needs that designers might not have anticipated. Together, we co-created the ROCKBUND Public Space Observation Report. 

Jan Gehl's public space quality assessment system is a core tool for human-centred urban design. This approach combines theoretical foundations from the field of urban design and anthropological field research methods. It allows the public to actively participate in the planning, design, and evaluation of public spaces through real-world behaviour data. This simple and direct involvement serves as an important feedback mechanism for urban decision-makers. 

At the end of the workshop, we invited people from various backgrounds to share their experiences, observations, and insights about the space.

Yang Bai, initiator of the Seeing the City workshop series and founder of Urban Noise, is passionate about people- centric urban design and exploring the dynamic relationships between people and public space. As a former urban designer with the State Government of Victoria in Australia, she led the Public Space & Public Life Study for Melbourne's Suburban Rail Loop precincts in collaboration with Gehl Architects. Her key experiences include urban design for transit-oriented developments, the 20-Minute Neighborhoods Project, Melbourne's metropolitan strategy (Plan Melbourne), event coordination for the NGO Architects for Peace, and various pro bono design initiatives. Starting in September 2025, she will start the Urban Drift project-conducting urban observations and co-.creating public art installations across cities in China.

"在移动中进食：当代用餐实践"是一场由新书分享会延伸出的城市观察与行动实践活动，围绕当代人在非家庭、非餐厅的“流动空间”中完成进⻝行为的方式与意义展开。项目以“第四空间”为切入点——那些位于城市边缘、建筑缝隙或灰色地带的非正式场所，往往被忽视，却承载着人们临时停留、调整节奏甚至进⻝的日常实践。 

每场活动分为两部分。第一小时的分享会中，艺术家将结合书籍内容与跨国案例，探讨“交通⻝物”“交通餐桌”等概念，以及边走边吃的社会文化背景与感官体验。观众也可分享自己在街头、车上或空中进⻝的经历，共同梳理这些被日常习惯掩盖的身体动作与心理感受。第二小时，10 位参与者自带⻝物，在外滩源区域进行一次“移动进⻝”探索。他们将在行走与进⻝的过程中记录路线、停留点、感官变化与遇见的事件，并在活动末尾回到集合点，以圆桌的形式交流体验。通过这种人为制造的不稳定场景，参与者需要不断判断何处适合停留、如何处理进⻝痕迹，以及在公共空间中的身体安全感。项目旨在让人重新觉察咀嚼、吞咽等细微动作背后的空间政治与社会心理，同时以感官为媒介，重新认识城市的结构与节奏。

陈文怡，常用的网名为“小光”，2001 年出生香港并生长于上海和伦敦，毕业于伦敦艺术大学传媒学院摄影本科，现就读东京庆应义塾大学媒体设计修士。内敛的性格加上多元的成长环境，使她在日常生活中始终保持着敏锐的观察力。她喜欢以温和而幽默的方式介入正在发生的事件，着眼于公共空间中的私密时刻，从中萌生出独特的叙事，通过摄影、文字、声音、雕塑等多种媒介来重构当代日常景观。她已出版作品包括 A Guide to Fry an Egg: The Egg Theory on Photography、《你发现了吗？藏在上海街头的一只鸭子》等，作品曾在北京和厦门的三影堂摄影中心、伦敦 Royal Academy of Arts、上海富士 X-Space 等地展出。

Eating in Motion: A Practice on Contemporary Dining

 is an urban observation and participatory action that grows out of a newly published book, exploring how people eat in spaces outside the home or restaurant. The project focuses on the idea of the Fourth Space — informal, often unnamed in-between places within the city’s fabric, such as architectural gaps, transitional corners, or urban edges. These overlooked spaces host small, temporary activities, from waiting and smoking to, perhaps unexpectedly, eating. 

The program unfolded in two parts. In the first hour, the artist shared concepts from her book, including ‘transit food’ and ‘transit tables’, alongside cultural and historical examples of eating while moving around the world. The audience were invited to share their own experiences of eating in streets, vehicles, or other unconventional settings, collectively mapping out the gestures and feelings often hidden by routine. In the second hour, ten participants brought their own food for a "eating in move" exploration around the Bund area. While walking and eating, they recorded their route, stopping points, sensory impressions, and encounters, and returned at the end for a roundtable discussion. By setting up an intentionally unstable scenario, the project prompted participants to reconsider where and how one can eat in public, the social perceptions around it, and the sensory awareness it awakens—ultimately reimagining the city’s structure and rhythms through the act of eating.

Manyi Chan was born in Hong Kong in 2001 and grew up in Shanghai and London. She graduated with a bachelor’s degree in photography from the London College of Communication (UAL), currently pursuing a master’s degree in media design at Keio University in Tokyo. Her practice reimagines everyday landscapes with a poetic and theatrical sensibility, incorporating photography, text, sound, and sculpture. She engages with unfolding events in a gentle and humorous way, crafting narratives that arise from private moments within public spaces. Urban landscapes, everyday objects, and social experiences are areas that particularly intrigue her. Her published works include A Guide to Fry an Egg: The Egg Theory on Photography and Duck in London. Her work has been exhibited at venues such as Three Shadows Photography Art Centre in Beijing and Xiamen, the Royal Academy of Arts in London, and Fujifilm X-space in Shanghai.

上海外滩美术馆 Rockbund Art Museum

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