上海外滩美术馆 Rockbund Art Museum

“TEM-PLE-OKE”在美术馆的一楼和二楼打造了寺庙般的环境，与另一部分“洁宜黄：BANK-A-OKE”共同组成艺术家黄洁宜的首场机构个展。“债”既是经济义务，又是精神境况。展览相关联的两部分围绕这种双重概念下的“债”展开带有哲思性的探讨。艺术家游走在世俗金融与神明账目之间，使二者彼此映照。银行“消耗”你的积蓄，寺庙则显现你想要填补已耗费之物的欲望。

“TEM-PLE-OKE”的空间逻辑衍生自美术馆历史建筑虎丘路一侧的八卦窗。在黄洁宜看来，八个卦象构成护阵，调节进入空间的事物。艺术家将建筑窗户的八边形轮廓延展至展厅内部，空间布局则参考了受邀的新加坡艺术家汪春龙对后天八卦的解读。

一楼是异界输液休息区，实现人们补充“气”——代表生命活力的愿望。核心作品《瓶装（蓝）眼泪》（2026）是一件由两只玻璃葫芦组成的雕塑，饱满的形态令人想到灵丹妙药与长寿意象。一旁的影像和声音装置《静脉滴注尊胜佛母心咒》（2026）融合佛经唱诵与临床输液的语汇，仿佛声音也能在身体内部循环。在这里，古人求取长生不老的愿望与当代生物黑客狂热相遇。一楼是异界输液休息区，实现人们补充“气”——代表生命活力的愿望。核心作品《瓶装（蓝）眼泪》（2026）是一件由两只玻璃葫芦组成的雕塑，饱满的形态令人想到灵丹妙药与长寿意象。一旁的影像和声音装置《静脉滴注尊胜佛母心咒》（2026）融合佛经唱诵与临床输液的语汇，仿佛声音也能在身体内部循环。在这里，古人求取长生不老的愿望与当代生物黑客狂热相遇。

二楼的布局与一楼相照应，展厅上演《恕我们的债》（2026）。这件全新委任的表演讲座以卡拉OK为灵感，邀请不同的身体向作品出借自己的声音。作品的主角则是一具僵尸，他化身为曾撮合清政府于1874年向汇丰银行借款的买办。在黄洁宜的虚构世界里，僵尸在一个多世纪后苏醒，却发现信贷规则彻底颠倒：他如今甚至无法借到小额个人贷款。随着僵尸在各地辗转，金融债务与业力、身体和精神之债也纠缠不休。

在印有道教符箓图案的地毯上，法术已然施成。愿我们所有的债终被宽恕。

TEM-PLE-OKE is a temple-like environment spanning the museum’s first and second floors. Together with its counterpart, Kit Yi Wong: BANK-A-OKE, it forms Wong Kit Yi’s first institutional solo presentation. The two interconnected exhibitions pose philosophical questions around debt as both a financial obligation and a spiritual condition. Moving between earthly finance and divine accounting, Wong sets the two in counterpoint. Where the bank draws on your reserves, the temple stages the desire to replenish what you have spent.

The spatial logic of TEM-PLE-OKE derives from the museum’s historical bagua windows, visible from Huqiu Road. For Wong, their eight trigrams form a protective configuration that mediates what enters the space. She carries the windows’ octagonal geometry into the galleries, and the installation follows feng shui principles, informed by a reading from Singaporean artist John Clang.

On the first floor, the desire to replenish qi, or vital energy, takes the form of an otherworldly IV-drip lounge. Its centerpiece, Bottling (Blue) Tears (2026), is a large sculpture that comprises two glass hulu, evoking the gourd’s associations with medicine and longevity. The accompanying video and sound installation, Intravenous Uṣṇīṣavijayā Mantra (2026), brings Buddhist chanting into the language of clinical infusion, as though sound could circulate through the body. Here, ancient pursuits of immortality meet contemporary bio-hacking fixations.

The lounge’s layout is mirrored upstairs, where the gallery becomes a stage for F̶o̶r̶give Us Our Debts (2026). This newly commissioned karaoke-inspired lecture-performance invites different bodies to lend it their voices. Its protagonist is a jiangshi, an undead figure recast as the comprador who helped broker the Qing government’s 1874 loan from HSBC. In Wong’s fictional universe, he reawakens more than a century later, only to discover that the logic of credit has shifted dramatically, and he is now unable to obtain even a modest personal loan. As he travels, financial obligations become entangled with karmic, bodily, and spiritual debts.

On carpets patterned with Daoist talismans, a spell is cast. May all our debts be forgiven.