Map’in 舆入心维

前言

T.S.艾略特《四个四重奏》之《小吉丁》（1943）：

“我们永远不会停止探索
而我们一切探索的终点
将是到达我们出发之地
并生平第一遭认识这地方”

艺术组合Toriteri（Hugo Bonamin & Linea Jensen）在此次艺术驻留项目中延续了2024年开始的单色辽阔的大尺寸绘画。对疆域、边界和场所继续发起追问：艺术自身的疆域究竟何在？意义生成于变幻的在场还是圈划的界限？展览命名为“Map’in”， “mapping”本身即是一种行动——它不仅是绘制地图的行为，更是一种对空间、时间和意义的主动塑造。而“Map’in”形成的流动性不再仅仅是技术意义上的“绘制地图”，而成为一种更具包容性的行动——既是“映射其中”，也是“融入其内”。艺术家不仅在全新的地理中定位自己，更在情感与思维中探索内在的疆域。

就像陌生地域的航拍照片，平面中的每一道笔触都标示着海拔、断裂或流动的讯号。然而凝视愈久，它们就愈不像领土。这里没有固定的边界或标定的坐标，反而唤起某种更有机的存在：一种根茎状的网络，无限延展，更像菌根共生体而非制图学的产物。这些并非人们可以占有、甚至无法完全感知的领地；它们持续存在着，与观者、画框乃至其本应再现的大地都毫无干系。艺术家运用他们的“后领土景观”呈现了首次在中国的地理感知，这是一种关乎凝视、断裂与重构的实践：承认那些曾经用来定义身份、作者性、民族性乃至艺术本身的架构与表面，都已不再以旧日的方式成立。

本次艺术驻留恰为艺术家提供了审视自身地理与文化坐标的契机，运用缩放和取样等技术是处理大量数据集的工具方法，将地理起伏的拓扑变化在虚空与充盈的浩瀚尺度下获取其形态。后领土性并非未来图景，而是当下现实。它是一种观看世界的方式—不通过疆界而通过关联，不通过占有而通过在场。在这个世界里，意义生成于移动而非定居，形成于描摹轨迹而非圈地划界。

T.S. Eliot, “Little Gidding” from *Four Quartets* (1943):

“We shall not cease from exploration

And the end of all our exploring

Will be to arrive where we started

And know the place for the first time.”

The artistic duo Toriteri (Hugo Bonamin & Linea Jensen) continues the large-scale monochromatic painting series initiated in 2024 during this artist residency. They persist in questioning territories, boundaries, and places: Where exactly does the territory of art lie? Does meaning arise from shifting presences or demarcated limits? The exhibition is titled “Map’in,” where “mapping” itself is an action—not merely the act of charting a map but an active shaping of space, time, and meaning. The fluidity formed by “Map’in” transcends the technical sense of “mapping,” becoming a more inclusive act—both “mapping within” and “integrating into.” The artists not only position themselves within a new geography but also explore inner territories of emotion and thought.

Like aerial photographs of unfamiliar landscapes, every brushstroke on the plane signals altitude, rupture, or flow. Yet, the longer one gazes, the less they resemble territories. Here, there are no fixed borders or marked coordinates; instead, they evoke something more organic: a rhizomatic network, infinitely expanding, more akin to a mycorrhizal symbiosis than a product of cartography. These are not lands to be possessed or even fully perceived; they persist independently, unrelated to the viewer, the frame, or even the earth they are meant to represent. Through their “post-territorial landscapes,” the artists present their first geographical perception in China—a practice concerning gaze, rupture, and reconstruction: acknowledging that the structures and surfaces once used to define identity, authorship, nationality, and even art itself no longer hold in the ways they once did.

This residency offers the artists an opportunity to reflect on their own geographical and cultural coordinates. Techniques such as scaling and sampling serve as methodological tools for processing vast datasets, capturing the topological transformations of geographical undulations within the vast scales of void and fullness. Post-territoriality is not a future vision but a present reality. It is a way of viewing the world—not through boundaries but through connections, not through possession but through presence. In this world, meaning arises from movement rather than settlement, formed by tracing trajectories rather than enclosing territories.

艺术家：莉娜·迪尔拜·延森

Artist: Linea Dyrbye Jense

比利时艺术家，出生于1991年，现居住在比利时布鲁塞尔，建筑学博士和建筑师。艺术家跨艺术与建筑双领域，创作广泛且深入，涵盖展览、舞台设计、建筑项目等，聚焦后地域性等主题，作品在多国重要场馆呈现。合作广泛，与多方共创丰硕成果，屡获设计竞赛大奖。专业背景扎实，兼具国际视野与创新力。

Belgian artist, born in 1991, currently based in Brussels, Belgium. He holds a PhD in Architecture and is a trained architect. Working across both art and architecture, his practice is wide-ranging and in-depth, encompassing exhibitions, stage design, and architectural projects, with a particular focus on themes such as post-regionalism. His works have been presented at major venues in multiple countries. He has collaborated extensively with a wide range of partners, achieving prolific co-created outcomes and receiving numerous awards in design competitions. With a solid professional background, his practice combines an international perspective with strong innovative capacity.

艺术家：雨果·博纳明

Artist: Hugo Bonamin

比利时艺术家，1979年出生于比利时布鲁塞尔。1999年毕业于贝尔格罗纳美术学院，1998年硕士学位，法国国家教育学院。艺术家创作维度多元，涵盖书籍、装置、表演等多种形式，作品聚焦“噪音”等主题，在欧美亚多国重要场馆展出，兼具学术深度与跨媒介传播力，合作广泛且成果丰富。

Belgian artist, born in 1979 in Brussels, Belgium. He graduated from the École des Beaux-Arts de Bergeron in 1999 and obtained a master’s degree in 1998 from the École Normale Supérieure in France. His artistic practice is multidimensional, encompassing books, installations, performances, and other forms. His work focuses on themes such as “noise” and has been presented at major venues across Europe, the Americas, and Asia. Combining academic depth with strong cross-media communicative power, he maintains an extensive collaborative practice with prolific outcomes.

策展人：李小满

Curator:

香港中文大学艺术史哲学博士，比利时ODRADEK Residence画廊负责人，艺术经纪人。

李小满女士的研究专注于中国当代艺术语言在全球语境中的演进与转变。多年来，她持续活跃于中欧艺术与文化领域，致力于推动跨文化交流与实践，在与不同艺术空间和艺术家合作过程中积累了丰富的经验与深刻洞察。

PhD in Art History and Philosophy from The Chinese University of Hong Kong; Director of Odradek Residence Gallery in Belgium; art agent.

Ms. Li Xiaoman’s research focuses on the evolution and transformation of the language of Chinese contemporary art within a global context. For many years, she has been actively engaged in the art and cultural fields of China and Europe, dedicating herself to promoting cross-cultural exchange and practice. Through collaborations with diverse art spaces and artists, she has accumulated extensive experience and deep insights.