不在之在——袁紹珊作品展

There is no There There - Works by Un Sio San

「不在之在——袁紹珊作品展」是以詩歌為主體的跨界實驗，展出澳門詩人、藝術家袁紹珊前往北極圈藝術駐村的成果及最新作品。展覽以空間為命題，結合錄像、裝置、攝影等手段進行跨媒介創作，探討非地方、公共空間、都巿廢墟和自然之關係。

“There is no There There - Works by Un Sio San” is an experiment of media expansion with poetry, which showcases the latest works of Macao poet and artist Un Sio San, after her art residency in the Arctic Circle (Svalbard). Using “space” as her visual motif, Un utilizes poetry as the major medium that is complemented by videography, installations, photography and other means. This experiment of cross-media artistic creation initiates the discussions of non-places, public sphere, urban ruins and nature.

藝術家自述 ARTIST'S STATEMENT

「當你到達那裡，那裡其實沒有任何那裡。」展覽以「不在之在」為題，套用了美國作家葛楚．史坦（Gertrude Stein）對記憶所繫之地面目全非的感嘆。自然界的種種人為或非人為痕跡，呈現出多個時空的消逝、殘存與疊加──極地探險家的古墓、一個世紀前的簡陋天文台、沖上岸的廢船、弱肉強食的雪地足跡，乃至前蘇聯在北緯79度遺留的「鬼鎮」皮拉米登（Pyramiden），反映的既是「不存在的時空中的存在感」，也是人、動物和自然相互作用的明証。受法國學者列斐伏爾（Henri Lefebvre）、德勒茲（Gilles Deleuze）和馬克．歐傑（Marc Augé）等人的空間理論影響，時空成為我藝術創作的母題之一──空間如何超載著意義。當「空間」（space）轉化為「地方」（place，諸如城巿景點），或機場、公路、便利店等臨時交匯性質的「非地方」（non-places）時，歸屬感、連結性和歷史性亦隨之產生或磨平。日常生活中，各式空間往往彼此滲透，如同坐巴士通勤的擁擠、在家中透過手機和全球網民相連，人們對於公領域和私空間的頻繁切換乃至共時並存，早已習以為常。又如舊區與不斷浮現的新填海區，以教堂為中心的堂區，「北京街」、「馬六甲街」等此地異域的命名方式，以及「防疫三十區」的規劃構想，全發生在這片面積日變的狹小土地上。在與不在，也是佔領的辯證。設立極地種子庫的危機意識，對照的是掌控自然的徒勞；處女地的漁業廢棄物，顯露了入侵與征服的徵兆。強調本土的手工啤酒和無限擴張的便利店，是在地化與全球化的博弈，反映出巿場也是一個空間概念，標籤、條碼、風味描述，正是文本侵入空間、創造多重影像的例子。李維史陀（Claude Lévi-Strauss）在《憂鬱的熱帶》說道：「世界開始之時，人類並不存在，世界結束之際，人類亦不會存在。」在浩瀚的地球史中，人類不過曇花一現，猶如電影的一秒24幀。冷岸群島（Svalbard）最古老的石頭種類，可追溯至十億年前；堅硬的冰川，則是長達四千年的日積月累；千萬種肉眼無法察覺的、在永凍土層休眠的古老微生物，可能隨著冰川的消失而再度顯現。人工之物如此短暫，卻又瞬間永恆──根據聯合國教科文組織的規定，冷岸群島上所有形成於1945 年以前的人類活動痕跡，自動成為文化遺產的保護元素，岸邊的塑膠垃圾卻又百年不腐……北極白茫茫的虛相之下，時間超載著事件，空間又超載著時間。倘若我們從時間的角度去重新理解空間，便不再局限於有形無形的物的本相。德勒茲在《千高原》（A Thousand Plateaus）中，把極地冰雪和大海歸屬於「光滑空間」（Smooth Space）－－無中心化的組織結構，無高潮，無終點，處於變化和生成狀態，沒有長期記憶或宏大敘事，沒有邊界、分野或凌駕他物的特權。換言之，一種無意識表述的自由。
須強調的是，光滑空間並非虛無，而是多重意義的理想載體。正如德勒茲在談論小津安二郎的電影時指出，「空的空間」（empty space）因他物之不在，而自具其重要性；反之，「靜物」（still life）卻依靠物體的存在來獲得意義。空間非「空」，像枯山水那樣，乃想像和詩意的實踐之地。北極之行給我最大的震撼，是學會從時間的角度理解空間，因為我們活在一個還不知道該如何觀看它的世界。一如化石、冰河與峽灣，所有銘刻在空間中的關係，同樣銘刻在時間歷程裡，空間的意義只有在時間裡、透過時間才能具體化。在VR、AR、MR世代，在城巿景觀劇變的澳門，那些仿造的威尼斯運河、巴黎鐵塔、羅馬鬥獸場，乃至輕軌這類低效的龐然大物，不也是一種「不在之在」的表現？隨著強制隔離、社交距離、封城、行程軌跡紀錄、線上會議的常規化，後疫情時代的人們，對空間將有全新的認知，進而改寫孤獨與連結的涵義。

“When you get there, there isn't any there there.”Themed around ‘existence beyond non-existence’, the exhibition draws inspiration from American writer Gertrude Stein’s lament about memorable land that has changed beyond recognition. The various traces left in the natural world, be they man-made or otherwise, such as the ancient tombs of polar explorers, primitive observatories dated back to a century ago, hulks of vessels washed ashore, footprints on a snowfield giving testimony to the hunter and its prey, and Pyramiden, a ghost town situated at 79 degrees north latitude that was abandoned by the former Soviet Union; showcase the passage, remnant and overlap of multiple moments in time, demonstrating their ‘presence in a virtual space-time’ while testifying the interaction between humans, animals and nature.Inspired by the space theories of French scholars, such as Henri Lefebvre, Gilles Deleuze and Marc Augé, my artistic creations revolve around how space carries diverse meaning. When ‘space’ is transformed into a ‘place’ (such as a city’s scenic spot), or ‘non-places’ for brief convergence, such as airports, highways and convenience stores, a sense of belonging, connectivity and history will also be triggered or worn down.In daily life, various spaces interact with each other, such as congestion during a bus commute, and the connectivity from home to the rest of the world through a smart phone, and people have become accustomed to the frequent switchover and co-existence of public and private spaces. In this small land that changes day by day, there are old districts and constantly emerging reclamation areas, parishes with churches at the centre, streets named after other places, such as Rua de Pequim and Rua de Malaca, as well as the 30 sub-districts proposed for anti-epidemic purposes.Existence and non-existence also serve as a testimony to an occupation by external forces. The crisis awareness suggested in the establishment of the polar seed vault accentuates humanity’s failure to take control of nature; fishing waste found on uncultivated land reveals humanity’s ambition to invade and conquest new areas. Hand-made beer brands oriented towards the local market and convenience stores that are constantly expanding embodies the clash between localisation and globalisation, reflecting the fact that the market is also a kind of space, and the label, bar code, and product description are some of the multiple images resulting from the intrusion of text into space.In his book Tristes Tropiques, French anthropologist Claude Lévi-Strauss mentioned: “The world began without the human race and will certainly end without it.” During the long history of the Earth, humanity is merely a flash in the pan, just like the 24 frames in a film. The most ancient stones found at Svalbard can be dated back to 1 billion years ago; the unyielding glaciers are the result of accumulation over 4,000 years; ten million ancient microorganisms that are undetectable by the naked eye lie dormant in the permafrost and may reappear when the glaciers vanish. Despite their transient existence, man-made objects embrace instantaneous eternity: all traces of human activity left at Svalbard before 1945 have automatically become a cultural heritage element under protection as regulated by UNESCO, whereas the plastic waste left on shore has been free from degradation for over a century. In the snow-white Arctic, you will find time overlaps with events, and space overlaps with time.If we re-understand space from the perspective of time, we will no longer be limited to the original image of both tangible and intangible objects. In his work* A Thousand Plateaus*, Gilles Deleuze classifies the polar snowfield and ocean as ‘smooth spaces’, which has no centralised organizational structure, climax or end point, but is in the state of constant change and emergence without any long-term memory, grand narrative, boundaries, dividing lines or privilege of overriding others. In other words, it is a kind of freedom with no conscious representation.It must be emphasized that smooth spaces do not equal nothingness but are the ideal carrier of multiple meanings. As Gilles Deleuze commented on Yasujirō Ozu’s films, an empty space owes its importance above all to the absence of a possible content, whilst the still life is defined by the presence and composition of objects which are wrapped up in themselves or become their own container. Rather than being ‘empty’, space is the cradle of imagination and poetry, just like dry landscape gardens.The main epiphany I attained from my journey to the Arctic is that I learned to understand space from the perspective of time, as we live in a world where we are yet to find a way to observe it properly. Just like fossils, glaciers, and fjords, all the connections engraved in spaces are likewise engraved in the course of time, since the meaning of space can only be manifested over and through time.In this generation of virtual reality, augmented reality, and mixed reality, and in Macao, a city with a rapidly changing urban landscape, the imitated Venice Canal, Eiffel Tower, Roman Colosseum, and even the grand yet inefficient project — Light Rapid Transit, are also a representation of ‘existence beyond non-existence’. With compulsory quarantine, social distancing, citywide lockdown, personal movement records and video conferences becoming the new normal, people living in the post-pandemic era will gain a brand new understanding of space, which will contribute to the redefinition of solitude and connectivity.

簡歷 ABOUT THE ARTIST

袁紹珊，詩人、作家、跨媒體藝術家。北京大學中國文學及藝術學雙學士、多倫多大學東亞研究及亞太研究雙碩士，清華大學文學博士。曾獲台灣「時報文學獎新詩首獎」、「首屆人民文學之星詩歌大獎」、「美國亨利．魯斯基金會華語詩歌獎」、「澳門文學獎」、「海子詩歌獎提名獎」、「首屆創世紀現代詩獎」、「澳門商務大獎—領導楷模大獎」等多個獎項。已出版《普波威》、《愛的進化史》、《Wonderland》、《太平盛世的形上流亡》、《喧鬧的島嶼：台港澳三地文化筆記》、《拱廊與靈光：澳門的120個美好角落》等多部詩集及雜文集。作品關注時空流動，被評論者譽為「使空間具有了不同凡響的詩學意義」。自十六歲起開始專欄寫作，曾為《中國時報》、《聯合報》、《環球人物》、《澳門日報》、《華僑報》、點心衛視、《C2文創誌》、《幼獅文藝》等多家媒體撰寫專欄，與《Cosmopolitan》（中國版）、《新視線 Wonderland》等雜誌合作「詩與時尚」、「520詩歌」等專題。部分作品已被翻譯成英、葡、日、意、西、芬蘭語及改編成音樂電影《愛都•島嶼》。曾任美國佛蒙特創作中心及「北極圈藝術計劃」駐村藝術家，應邀出席紐約、里斯本、吉隆坡等多個國際詩歌節及文學節。多年來致力推動詩歌與其他藝術形式的跨界合作，統籌展覽包括「種種可能──當波蘭詩歌來到澳門」、「詩+設計──澳門詩人與設計師合作展」、「藝文薈澳：澳門國際藝術雙年展」、「首屆澳門國際書展」等。曾獲哈佛燕京圖書館及加拿大蒙克全球事務學院亞洲研究中心獎金，前往哈佛大學、哥倫比亞大學及北京尤倫斯當代藝術中心等機構進行中國當代獨立紀錄片研究及中國近現代史研究。曾受邀至香港中文大學、嶺南大學、台灣政治大學、澳門大學等多所高等院校進行客座詩學講座。多篇研究論文見於《故宮博物院院刊》、《中國當代文學研究》、《民國文學與文化研究集刊》等核心期刊。曾任《中西詩歌》副主編及《文化雜誌》（中文版及外文版）執行主編。參與之展覽及其他：
> 「迴──出國留學歸澳藝術家聯展」（澳門，牛房倉庫，2010）>「自由行不行──當代藝術作品展」（澳門，牛房倉庫，2012）> 「詩文之家屋──文學跨界展演計劃」（台北，南海藝廊，2012）> 「送海：海洋文化交流計劃」出走海岸線社區藝術旅行團──文本創作（第十二屆澳門城巿藝穗節，2012）> 澳門本土原創室內歌劇《香山夢梅》作詞人（澳門國際音樂節委約，2016）> 執導紀錄片《冰山一覺》（澳門影像新勢力，澳門文化中心委約，2021）（入圍The 41st Minneapolis St. Paul International Film Festival, 第19屆保加利亞宮廷國際短片節、第24屆意大利環境電影節、丹麥國際影像詩電影節、10th International Video Poetry Festival (Greece, Athen), 41st Thomas Edison Film Festival, 2021 iShorts!廈門短片周、minute國際短片節、南山國際山地影像周優勝作品等）> 個展「不在之在──袁紹珊作品展」（澳門，後牛房實驗場，2021）>「全藝社秋季沙龍」（澳門，東方基金會，2021）> 「阡陌之間——社區環保藝術展」（澳門，牛房倉庫，2022）>「重返自然── 國際藝術群展」（上海：明珠美術館，2023）>「詩形物影── 當代藝術中的澳門詩歌」（澳門：巴黎人；橫琴：天匯星，2025）

A renowned poet and artist, Un Sio San obtained a dual Bachelor degree in Arts and Literature at the Peking University, a dual Master degree at the University of Toronto and a PhD degree at the Tsinghua University. She had been an artist-in-residence with the Vermont Studio Center and the Arctic Circle Programme.Un is also the award winner of The China Times Literature Awards (Taiwan), the inaugural New Star – People’s Literature Prize of Poetry (China), the Henry Luce Foundation Chinese Poetry Award (U.S.A.), Macao Literary Award, Leading by Example Award (Business Awards of Macau) and many more. Published works include Puhpowee, Evolution of Love, Wonderland, Exile in the Blossom Time, Boisterous Islands, etc. She’s highly praised by critics for ‘attaching extraordinary poetic significance to space’.Un started writing columns at the age of sixteen, and has written columns for many media outlets including China Times, Global People, Macao Daily, Dim Sum TV, C2 Cultural and Creative Magazine, and Young Lions Literature and Art. Some of his works have been translated into English, Portuguese, Japanese, Spanish, Italian, Finnish etc., and adapted into the musical film "Island of Love".Un has been fostering cross-disciplinary collaboration between poetry and other genres of art, such as organized art exhibition “Possibilities–Introducing Polish Poetry in Macao”, “Poetry + Design: a Joint Exhibition by Macao Poets and Designers”, and “Art Macao: Macao International Art Biennale”. She had been an artist-in-residence with the Vermont Studio Center and the Arctic Circle Programme. She has been fostering cross-disciplinary collaboration between poetry and other genres of art, such as organized art exhibition “Possibilities–Introducing Polish Poetry in Macao” and “Poetry + Design: a Joint Exhibition by Macao Poets and Designers”.Un has received grants from Harvard-Yenching Library and Munk School of Global Affairs (The Asian Institute) in Canada to conduct research on contemporary Chinese independent documentaries and modern Chinese history at institutions such as Harvard University, Columbia University, and UCCA in Beijing. She has been invited to give guest lectures on poetry at many universities, including the Chinese University of Hong Kong, Lingnan University, National Chengchi University in Taiwan, and the University of Macau. Some of her research have appeared in core journals such as the Journal of the National Palace Museum and the Journal of Contemporary Chinese Literature. Un was the deputy editor-in-chief of Chinese and Western Poetry and the executive editor of Review of Culture (Chinese and foreign editions).Participated in exhibitions and others:
> “Reincarnate” – Collective Exhibition of Macao Artists returning from abroad (Macao, Ox Warehouse, 2010)> “Free Individual Travel… How Much Free? – A Contemporary Art Exhibition” (Macao, Ox Warehouse, 2012)> “House of Poetry – Multimedia Program of Literature” (Taipei, Nanhai Gallery, 2012)> “Farewell – Marine Culture Exchange Program” & “To the Coastline: Community Art Tour” (The 12th Macau City Fringe Festival, 2012)> Librettist of Macao’s original chamber opera A Fragrant Dream (Commissioned by Macao International Music Festival, 2016)
>Director of the documentary Murmur of Icebergs (Commissioned by Macao Cultural Center, 2021)
(Shortlisted for The 41st Minneapolis St. Paul International Film Festival, 19th
IN THE PALACE International Short Film Festival, the 24th CinemAmbiente – Environmental Film Festival, 10th International Video Poetry Festival (Greece, Athen), the Nature & Culture - International Poetry Film Festival (Copenhagen), 41st Thomas Edison Film Festival, 2021 iShorts! Xiamen Short Film Week, minute International Short Film Festival, Nanshan International Mountain Film Week Winners)> Solo exhibition "There is no there there - Works by Un Sio San" (Macao, Post - Ox Warehouse Experimental Site GF&2F, 2021)> “Art For All Autumn Salon” (Macao, Oriental Foundation, 2021)> “Crisscross Paths - Crisscross Paths - Exhibition of Environmental Art in Community” (Macao, Ox Warehouse, 2012)> "Return to Nature - International Art Group Exhibition" (Shanghai: Pearl Art Museum, 2023)> "Poetic Shadows: Macao’s Rhythms in Contemporary Art" (Macao: Parisian, 2025)

部分圖錄 Gallery

**不在之在 There Is No There There **數碼攝影、數碼輸出
Digital photo, giclee print
50 cm x 33 cm
2021

處女地 The Virgin Land
數碼攝影、數碼輸出
Digital photo, giclee print
150 cm x 51.11cm
50 cm x 33 cm x 5 pcs
2021「有人的地方／就沒有寧靜／看到陸地／就有勘探和佔領」
“Where there are people / There is no peace / When they see the land / They see exploration and occupation”

非地方 Non-places
錄像 Video
15 mins
2021「非地方空間創造的既非特殊身份，亦非關係，而是孤獨與相似性。」
--馬克．歐傑《非地方：超現代性人類學導論》“The space of non-place creates neither singular identity nor relations; only solitude, and similitude.”
-- Marc Augé, Non-Places: An Introduction to Supermodernity

野蠻便利店 | Barbaric Mart本土手工啤酒、壓克力、紙
Local craft beer, acrylic, paper
尺寸可變 Dimensions variable
2021強調本土、小眾的手工啤酒，以及無限擴張、意欲全球化的便利店……消費是一個空間概念。同名詩作獲第十二屆澳門文學獎新詩組冠軍。While craft beers are emphasizing localism, convenience stores expand infinitely and intend to globalize...Consumption is a spatial concept.The poem of the same name won the champion of the new poem category of the 12th Macao Literary Award.

展覽資訊 INFO

不在之在——袁紹珊作品展
There is no There There - Works by Un Sio San藝術家 Artist：袁紹珊 Un Sio San展覽地點 Exhibition Venue：後牛房實驗場地面及二樓展廳（澳門和隆街十五號）Post - Ox Warehouse Experimental Site GF&2F (Rua do Volong, No.15, Macau)
開幕 Opening Ceremony：21/07/2021（星期三 Wednesday），18:30
展期 Exhibition Period：22/07/2021 - 22/08/2021（12:00 - 19:00 ; 逢星期一休息 Closed on Mondays）
主辦 Organisation：牛房倉庫 Ox Warehouse