上海外滩美术馆 Rockbund Art Museum

上海外滩美术馆呈现艺术家黄洁宜（1983年生于香港）以双重结构展开的首场亚洲机构双个展：“洁宜黄：卡拉银行”与“黄洁宜：卡拉寺庙”。这两场展览虽拥有各自的空间与入口，在构想中却被设定为两套独立且在概念脉络中紧密连结的系统。如同两个错位的镜像机制，“卡拉银行”与“卡拉寺庙”同时共享相似的元素、形式甚至布局，但却在实际作品、操作逻辑与创作理念中产生偏差。两场展览的核心均是一件全新的参与式卡拉OK影像作品以及一系列最新创作的建筑装置与物件，从而在本质上呈现一种对抗的形式：即受限于时间的债务系统与试图超越时间的仪式之间的博弈。

黄洁宜现生活和工作于纽约和香港。她的跨学科实践涵盖了影像、装置、表演式讲座、写作及教育。黄洁宜收到卡拉OK启发，创作一系列的表演式讲座，并擅长将流行歌曲、口述文本与投影图像转化为犀利的批判工具。她的创作不仅汲取了机构批判的养分，更融入了可替代性的认识论——包括风水、幽灵式的存在及其他思辨性知识系统。这些实践扰动了现代社会中关于信仰与实证、身体与精神之间的明确界限。

“洁宜黄：卡拉银行”和“黄洁宜：卡拉寺庙”由上海外滩美术馆主办，馆长兼首席策展人朱筱蕤（X Zhu-Nowell）策划，助理策展人及研究员王馨茹提供支持。

RAM will present two interconnected exhibitions by artist Wong Kit Yi. Unfolding through a dual structure, Bankaoke (Bank of Karaoke) by Kit Yi Wong and Templaoke (Temple of Karaoke) by Wong Kit Yi, the presentation is conceived as two independent yet conceptually interlinked exhibitions with separate spaces and entrances. Like near-duplicates or mirrored systems slightly out of sync, the two sides share elements, gestures, even layouts, yet diverge in works, logic, and belief. At the center of each side is a new participatory, karaoke-based video work, accompanied by newly produced architectural setups and objects. At its core, the project stages a confrontation between time-bound systems of debt and ritualized attempts to transcend time.

Living and working between New York and Hong Kong, Wong is a visual artist whose interdisciplinary practice spans video, installation, lecture-performance, writing, and pedagogy. Known for her karaoke-inspired lecture performances, Wong mobilizes popular song, spoken text, and projected imagery as critical tools. Her practice draws equally on institutional critique and alternative epistemologies, including fengshui, ghostly presence, and other speculative knowledge systems that unsettle modern distinctions between belief and evidence, body and spirit.

Kit Yi Wong: Bankaoke (Bank of Karaoke) and Wong Kit Yi: Templaoke (Temple of Karaoke) are curated by X Zhu-Nowell, Executive Director and Chief Curator of Rockbund Art Museum, with the support of Karen Wang, Assistant Curator and Researcher.