danying https://danying.me danying Mon, 08 Dec 2025 06:43:16 +0000 https://danying.me en Where things hold http://danying.me/Where-things-hold Mon, 08 Dec 2025 06:43:16 +0000 danying 458687 Where Things Hold, 2025&nbsp; Radio28cs Residency Program, Mexico City 🔗 project description 💿 exhibition video <img width="2480" height="3508" width_o="2480" height_o="3508" src_o="https://cortex.persona.co/t/original/i/4e262b75286a9f4d5f33131d81b827da6de37ada2cdf6d254bbe678c07a61d82/radio28-floorplan.jpg" data-mid="1427693" border="0" /> <img width="2822" height="4200" width_o="2822" height_o="4200" src_o="https://cortex.persona.co/t/original/i/7cb0b3b7c81bf81c07cb8a40d662e80bbafd364480617f0866954550bd9e2db3/000044.jpg" data-mid="1427669" border="0" /> <img width="5266" height="3511" width_o="5266" height_o="3511" src_o="https://cortex.persona.co/t/original/i/d8dcc280d9caffff307c13dd2f9f8e0aee76d647999e2442930c5c39d7003dca/ins.jpg" data-mid="1427020" border="0" /> <img width="6000" height="4000" width_o="6000" height_o="4000" src_o="https://cortex.persona.co/t/original/i/99d53eae4c9235d06caca1f45f095792a1781f646e46e38243b79173e9037f1f/installation.jpeg" data-mid="1427011" border="0" data-scale="100"/>Exhibition View, Radio28cs, 8th November 2025 I was drawn to how street vendors in Mexico City make use of everything around them — using tape as rope, tying knots in tarps weighted with stones or scraps of rubber to form temporary joints that shift from day to day in response to their needs. Through these small, improvised gestures, I began to understand the city through the everyday lives and spatial practices of those who live and work there. In the residency studio @radio28cs, I began building my own makeshift tables instead of using the wheeled ones, setting up a stall within the workspace — a holding place for the materials and observations I bring back each day. This process has become a practice of care and adaptation: exploring ways of connection, assembling fragments, and learning from the city’s rhythms through small, improvised gestures.The work was eventually organised into ten interrelated parts, each remaining distinct while staying in relation to the others, inspired by salsa. In Mexico, salsa carries two meanings at once: a dance of steps, shifts, and rhythm a sauce made from whatever is at hand — mixed and balanced just enough Here, it becomes a method: to move with the city,to adapt by touch,to balance with borrowed parts,to build the way a street vendor improvises. I invited other artists in the residency studio to take part by offering each piece an instruction — a small action to be performed when walking in front of it. These instructions do not prescribe use, but introduce moments of attention, hesitation, and bodily adjustment, extending the work beyond its material form. <img width="1024" height="768" width_o="1024" height_o="768" src_o="https://cortex.persona.co/t/original/i/e208fec805374983d99f6668db0abd62174f7d6acd5c61d90fbafcfc9700e0df/4220D168-AE36-46BD-98FB-5013D97C5F98_1_105_c.jpeg" data-mid="1432106" border="0" /><img width="1024" height="768" width_o="1024" height_o="768" src_o="https://cortex.persona.co/t/original/i/cf434497e8593a379ca895b5fc1d9d270cfe271ffe68f9d9e79b549b63cce30c/CBCECE0D-3D4C-441B-8D41-80B720988C52_1_105_c.jpeg" data-mid="1432096" border="0" /> <img width="1536" height="2048" width_o="1536" height_o="2048" src_o="https://cortex.persona.co/t/original/i/f1cab1afe3571547b9d734d5361c372d0888d91a9f92ffbf888620512610bf78/95608072-0D73-460C-B832-4433D59D5449_1_102_o.jpeg" data-mid="1432098" border="0" /> <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/f7f05c8326881ab7e995f3fb37e28dfd18f84ef24fee70e32234db94e8d81681/EE11CBFD-2FE8-4646-9B6B-0DE12BE01EB5_1_105_c.jpeg" data-mid="1432107" border="0" /> <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/e7d5c0a75b4a5bd179742f9bc943d8ff5dc8c5ee56d4ea611dc9356756fc29c8/FEF7C3BC-8134-40D6-98F9-F7DF5732FE58_1_105_c.jpeg" data-mid="1432102" border="0" /> <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/b3d740e7c4969e089320780c90ba261d726e89d64d9974a388ec631731dd60b2/A7802000-8AEB-4706-BAD7-53CDEB7FAC26_1_105_c.jpeg" data-mid="1432108" border="0" /> <img width="2986" height="3982" width_o="2986" height_o="3982" src_o="https://cortex.persona.co/t/original/i/8d56c5d86684f2c74b5867459f718ef1025be2d8d056dc89f2040f8fc2edce44/C41973D2-A1D0-4F19-8195-90748FBC94E5_1_201_a.jpeg" data-mid="1432110" border="0" /> <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/8bd473bb6efaeaaa617b8540f21934caf3e21b40314f67e86e63dcf631717711/0C0DFF30-9408-46BC-93CA-9335EDF4E937_1_105_c.jpeg" data-mid="1432101" border="0" /> <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/adb65ab294435c1aaf7601692a2bf05f3e97f4c6a82883a98174da0f398338b0/B04F765C-C598-4196-BD9F-FE6F624EBE42_1_105_c.jpeg" data-mid="1432105" border="0" /> <img width="1536" height="2048" width_o="1536" height_o="2048" src_o="https://cortex.persona.co/t/original/i/989ad1cbc5e3e1d52c646a4da027a4b578d4fef716e168f59c3a740857793e8b/2777B133-AB4E-4FE5-9D3B-4C601B1FF225_1_102_o.jpeg" data-mid="1432117" border="0" /> Works &amp; Installation Views <img width="3868" height="5802" width_o="3868" height_o="5802" src_o="https://cortex.persona.co/t/original/i/27aa53817af92ced0b3e57ef6b3cfc6b9c65a5bdd5dd83620ab212314db1a6d7/table-1-3.jpg" data-mid="1427019" border="0" data-scale="51"/> table 1 <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/2048faec8d35d64281ffa30276a7730ef51eb95ecfa7658b4c6efbbb8a7643a4/table-1-0.jpg" data-mid="1426851" border="0" data-scale="100"/> <img width="3963" height="5944" width_o="3963" height_o="5944" src_o="https://cortex.persona.co/t/original/i/73f30403f40321546fe32d675e0520dea429779c72989c58e8b97cb6345695c1/DSC08957.jpg" data-mid="1426849" border="0" data-scale="100"/> <img width="3975" height="5963" width_o="3975" height_o="5963" src_o="https://cortex.persona.co/t/original/i/8761c86b16f1bcdc645ca5f5322f6b14d5367293eeb29d04d10236d983ea8429/DSC08823.jpg" data-mid="1432122" border="0" /> <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/836d6172b7a7e782a8e77e77f1269cd40822d30c9c703db48577aecac9a8433f/table-1-1.jpg" data-mid="1426997" border="0" data-scale="100"/> <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/20f127150fc350d679b610ba89e08a912ee854499b6c708c7aedb480b498c911/DSC09011.jpg" data-mid="1426995" border="0" data-scale="100"/> <img width="3870" height="5805" width_o="3870" height_o="5805" src_o="https://cortex.persona.co/t/original/i/325c5ea31e1f646f84eebfb1cc5e39ef1ab454f26842d8cb85eb9398d315111d/table-1-4.jpg" data-mid="1427018" border="0" data-scale="100"/> b. Lead and Follow / Chop and Bind <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/d6f1bfb9dd30bfcb4af6ff0aef72fa4702286e3313c1844ba6c386a35519a3ac/table-2-3.jpg" data-mid="1427001" border="0" data-scale="51"/>table 2 <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/a7f66692b58b2413a908e5d7235af8c22d3544ff3e8de6502985f922364a7b47/table-2-0.jpg" data-mid="1426999" border="0" data-scale="100"/> <img width="3753" height="5629" width_o="3753" height_o="5629" src_o="https://cortex.persona.co/t/original/i/65832b4f1b88669fbb9c4e6403301cbbe392c29797bfdb44e3df15d753ca31a0/table-2-4.jpg" data-mid="1427002" border="0" data-scale="100"/> <img width="3981" height="5972" width_o="3981" height_o="5972" src_o="https://cortex.persona.co/t/original/i/1aff5fab8a5381f20a2af7acb0e8aa0c80e17f26a1c3260ee0fe8f5d6d1be131/table-2-5.jpg" data-mid="1427003" border="0" data-scale="100"/> <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/c8a3e73d949aaf8d3f08dd94e2a39f5da0f53f7bff42301d2ccd8f54072bd449/table-2-11.jpg" data-mid="1426853" border="0" data-scale="100"/> <img width="3975" height="5962" width_o="3975" height_o="5962" src_o="https://cortex.persona.co/t/original/i/4ce7361e8568678ddc7f749b30f9ae2d2883c64dde1b66dab2272264f191d697/table-2-8.jpg" data-mid="1427004" border="0" data-scale="100"/> <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/c7953357eea2fe06116314fdb0b03794f3d21a6677a46b8fd8507014a513d6d9/table-2-2.jpg" data-mid="1427000" border="0" data-scale="100"/> <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/a35a47429d71b44ac12d2a40d254f088b6a4c754af2cb50e954bc8968a362021/table-2-15.jpg" data-mid="1426850" border="0" data-scale="100"/> <img width="3901" height="5852" width_o="3901" height_o="5852" src_o="https://cortex.persona.co/t/original/i/ae220a10f283b4d69a106ff0aa2725b1486322cb029803310a89b29ca0ffcc98/table-2-16.jpg" data-mid="1426852" border="0" data-scale="100"/> d. Partner Work / Fold, Mix, Balance <img width="3981" height="5971" width_o="3981" height_o="5971" src_o="https://cortex.persona.co/t/original/i/30c96174ace113529f9df50d342926fe3c5f5fa07e54bdc4bb25f0e4bd4be2ca/DSC08879.jpg" data-mid="1427006" border="0" data-scale="51"/>table 3 <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/95bf29c5fa8b64538aafc96a7b1d19d1f02b1141743d3db1e244a6af82b8fcd1/DSC08900.jpg" data-mid="1427007" border="0" /> <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/2b8480a661534459c67b46bf8ca5071f1da6236af00857476a5479a2efa5033d/DSC08889.jpg" data-mid="1427022" border="0" /> e. Cross Body Lead / Adjust Texture <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/78b9ba2d18b5fd73d2cf190adcd6671c13cb12113cad9c06c73c1a503c534d1e/knot.jpg" data-mid="1427008" border="0" data-scale="51"/> f. Suspension Hold <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/79e93700962813b79c9fa26d97362e19858c8d03ec802603d1d9716b9a286d4f/_BBB0736-Mejorado-NR.jpg" data-mid="1427687" border="0" /> <img width="3945" height="5917" width_o="3945" height_o="5917" src_o="https://cortex.persona.co/t/original/i/c4badab2f3b5d777b9b3a729f6b871a04865a9601ba42c30f25b2de674dcfd76/_BBB0737-Mejorado-NR.jpg" data-mid="1427686" border="0" /> a. Basic Hold / Stock <img width="3863" height="5794" width_o="3863" height_o="5794" src_o="https://cortex.persona.co/t/original/i/f84c3b7e91f404ca4aff343788de0be52326d1f32f768cce634f02ec42eac67b/DSC08835.jpg" data-mid="1427023" border="0" /> <img width="3972" height="5958" width_o="3972" height_o="5958" src_o="https://cortex.persona.co/t/original/i/e2ef2617e93174faa0a1039d60ba2e91b53851dadbd0f4f3667b5e0a201231b5/DSC08837.jpg" data-mid="1427024" border="0" /> c. Solo Shines / Add Acidity <img width="3953" height="5930" width_o="3953" height_o="5930" src_o="https://cortex.persona.co/t/original/i/18f0664af0681f1b3e203f3aae8bc83755ad35e478ae4053d55978b26756e077/DSC08822.jpg" data-mid="1427005" border="0" data-scale="100"/>g. Side Step / Wait <img width="3775" height="5663" width_o="3775" height_o="5663" src_o="https://cortex.persona.co/t/original/i/608f87cba8ea37285b555566e2f3a2b784866e97c336fee4bb37da948d78d78e/DSC08964.jpg" data-mid="1427690" border="0" data-scale="100"/>i. Turn / Sip <img width="6000" height="4000" width_o="6000" height_o="4000" src_o="https://cortex.persona.co/t/original/i/ea7c9eaa942c75c54447ca7e66724683e7cfec593d5e31a141cd658990e431ee/_BBB0835.jpg" data-mid="1427689" border="0" /> Piece ‘h’ was collaborated with Afsian Aguilar; I made a temporary structure that became the site for his performance. ☗ Where Things Hold, 2025&nbsp; Radio28cs Residency Program, Mexico City 🔗 project description 💿 exhibition video Exhibition View, Radio28cs, 8th November... Dissolving dwelling http://danying.me/Dissolving-dwelling Tue, 16 Sep 2025 15:15:15 +0000 danying 457866 Dissolving Dwelling, 2023 | Etching on steel tinplate sheet, 24×10×0.2cm Dissolving Dwelling, 2023 | Etching on steel tinplate sheet, 24×10×0.2cm 刚刚好-驻地2025黄边 http://danying.me/2025 Wed, 10 Sep 2025 16:31:41 +0000 danying 457823 It works (somehow)! -&nbsp;Urban Village Residency Programme Times 101, Guangzhou Huangbian Village 刚刚好 -&nbsp;城中村艺术驻地项目时代101，广州白云区黄边村 For more, please see our own text on the ideas behind the residency and exhibition: 1. Residency Project: It works (somehow)!<img width="1188" height="240" width_o="1188" height_o="240" src_o="https://cortex.persona.co/t/original/i/94ce35a3c26976f7da044e2ec97bbb26287b4c4c48cc45ed72492a66b0407444/2025-09-16-20.31.06.png" data-mid="1419253" border="0" data-scale="86"/> <img width="7016" height="9921" width_o="7016" height_o="9921" src_o="https://cortex.persona.co/t/original/i/919ada933cf3808b61572e6b7884db44a4d63a33521045e7fafd79e1919d5336/.jpg" data-mid="1419254" border="0" /> 2. An exhibition inside a rented flat - what happens next?<img width="1368" height="220" width_o="1368" height_o="220" src_o="https://cortex.persona.co/t/original/i/b9d6bc2e7ce3b9b8ac7b26bf1f34844c7c150fd7e6bf7d919ca738ee9f7ea56e/2025-09-16-20.13.07.png" data-mid="1419252" border="0" /><img width="2267" height="3366" width_o="2267" height_o="3366" src_o="https://cortex.persona.co/t/original/i/59719ab28a7410f9fce023268e4812bf46536febda4968bd1d0d7dffeb832568/9.png" data-mid="1419249" border="0" data-scale="99"/> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/c626b0e77cefc1fd001e332383234d0223dfac09459b95648b14986e71e2ad60/AEA7245D-B0F5-43E6-B559-DA092F00B974_1_105_c.jpeg" data-mid="1419250" border="0" /> <img width="1448" height="2172" width_o="1448" height_o="2172" src_o="https://cortex.persona.co/t/original/i/1fee033c51814c869251eff3d0159d357eec91684757e01970331022e0567ceb/9B0CB458-59E8-4CEE-947F-0D0AB7AE56E0_1_102_o.jpeg" data-mid="1419247" border="0" /> 出租屋103 (左) 与时代101 (右) 仅一步之隔 Rental Flat 103 (left) sits just a step away from Times 101 (right) <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/192288e0a73e6bf72cd7bba6e1c34767e954fcece01ad30cb8d706ae9d6d4f0d/3512113E-9042-4145-AD1A-A57D1D5AD307_1_105_c.jpeg" data-mid="1419264" border="0" data-scale="53"/> 这是一次发生在广州黄边城中村 Times 101 的第二次驻地与展览。本次项目从两个维度展开：一方面关注在地 DIY 的空间手法，观察居民如何以“刚刚好”的方式改造、维系与搭建生活环境；另一方面以“生活账本”为视角，记录个体在家庭、生计与时间之间的日常权衡。 展览最终设置在驻地空间对面的出租屋 103 中，使“看房”成为“看展”的方式。我们完整保留前任房客留下的生活痕迹，将出租屋视作一件现成品雕塑，它是租客在有限条件下不断加装、修补与延展的结果。观者在打量房屋结构与细节的过程中，展览的两条线索自然浮现。 这两条主线源自驻地计划 「刚刚好 / It Works Somehow!」：一条从物与结构出发，回应临时搭建与材料使用的逻辑；另一条从具体叙事出发，指向个人发展、家庭计划与城市节奏之间的张力。项目通过雕塑、书写与影像，尝试将这些日常实践转译为一种空间语言。This was the second residency and exhibition that took place at Times 101 in Huangbian Urban Village, Guangzhou. The project unfolded along two parallel strands. On one hand, it focused on local DIY spatial practices, observing how residents adapt, maintain, and construct their living environments through “just-enough” interventions. On the other hand, it approached everyday life through the lens of the “life ledger,” tracing how individuals negotiate livelihood, family responsibilities, and time within shifting urban conditions. The exhibition was ultimately staged in Rental Room 103, located directly opposite the residency space, allowing the act of “viewing a flat” to become the act of “viewing an exhibition.” The traces left behind by the previous tenant were carefully preserved, and the room was treated as a readymade sculpture—an accumulated result of incremental additions, repairs, and extensions made under constrained circumstances. As visitors moved through the space, attending to its structural details and improvised modifications, the two strands of the exhibition gradually revealed themselves. These two trajectories emerged from the residency project It Works Somehow! One strand began with objects and structures, responding to the logics of provisional construction and material improvisation. The other began with situated narratives, pointing to the tensions between personal development, family planning, and the rhythms of the city. Through sculpture, writing, and moving image, the project sought to translate these everyday practices into a spatial language. &lt;展览作品&gt;Works <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/f544ec123db8f2667744fc94d2a39973d299378f44162c10576da476cf9a80c4/A23A6848-3E67-4D6D-A540-879BB387ED94_1_105_c.jpeg" data-mid="1419239" border="0" /> <img width="1448" height="2172" width_o="1448" height_o="2172" src_o="https://cortex.persona.co/t/original/i/f8bad07a277ce18ef25298c3a98956281780500cb3f1f86e7235c9db1f2511fd/C539E677-9417-4735-87B9-37EF2900D005_1_102_o.jpeg" data-mid="1419243" border="0" /> <img width="1448" height="2172" width_o="1448" height_o="2172" src_o="https://cortex.persona.co/t/original/i/a1e84df1c9b2b5070be266b1567416501fdda0d4d6ad569ed23f88ad40b4dfa5/FFB4F80A-36BC-4723-95CD-C32FE61568F6_1_102_a.jpeg" data-mid="1419242" border="0" /> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/b42793cfd7fdeeeef8f557a7d703b7b5b5071bf724564f5656097c859afe730a/2BC41260-7D02-414C-B143-BDFDC68F546F_1_105_c.jpeg" data-mid="1419235" border="0" /> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/8ab8c344f107b7b80348e18fb2a555b663a87cf5b820d57fa040b60af0b9bcf9/CB9E10E4-BC9B-465E-9D84-42324C20ED32_1_105_c.jpeg" data-mid="1419240" border="0" /> 落脚的麻雀 Passing Sparrow, 2025 麻雀虽小，五脏俱全。灵感来自我们在村里走巷时看到的住家与小店：里屋不大，却摆满了生活与娱乐的必需品，处处是物尽其用的巧思。在一家餐饮店，小孩的玩具散落在地上，旁边就是食客的餐桌，人走得远远的还能听到里面ABCD学英文的录音。我们想把这样的空间趣味性放到这个双人床架里。一个在驻地期间常同我们互动的租客就曾看着这床跟我们说，双人床一直是他的梦。我们希望这梦像一只暂时落脚的麻雀，在歇息，在等待时机。 &nbsp; Small as a sparrow, yet complete. The work takes its cue from the houses and shops we saw while walking through the village lanes: narrow rooms packed with the necessities of life and play, each corner showing some economy of use. In one eatery, a child’s toys lay scattered across the floor beside the diners’ tables; from a distance, you could still hear the ABC of an English lesson playing within. We wanted to fold that sense of improvised space into a bedframe. One tenant, often in our company, once looked at this bed and said that a double-bed had always been his dream. We thought of that dream as a sparrow resting for a moment—pausing, biding its time. <img width="3896" height="5847" width_o="3896" height_o="5847" src_o="https://cortex.persona.co/t/original/i/990d5d1ca15afbdc6cd533c18caa116154436ac8e2c6e7bfb94c3cf2d9ce5ec8/DA4A688B-DA4D-4A48-99FE-6A29AFC7AB78_1_201_a.jpeg" data-mid="1419255" border="0" /> <img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/e98b15e885c56375752ab3619fdd74f8f908c3916c318346e040d4d1eac53e4e/5042DD99-8D62-4E7F-8E09-EC902AFAE711_1_201_a.jpeg" data-mid="1419261" border="0" /> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/66ad7e2fb03d09c422d2d507ee1c2b44f7ed5bc4490644c37943a7d13dbbae6c/DA17C956-FB8B-4464-8105-4A039B104AC9_1_105_c.jpeg" data-mid="1419245" border="0" /> <img width="3825" height="5739" width_o="3825" height_o="5739" src_o="https://cortex.persona.co/t/original/i/68d64721f539878dede67762e787271204851d9623cbe8ab9fc0a8d8f2d56fc6/2DC42E30-284B-4CCA-9D16-F62EF3EAAB41_1_201_a.jpeg" data-mid="1419256" border="0" /> <img width="1448" height="2172" width_o="1448" height_o="2172" src_o="https://cortex.persona.co/t/original/i/431493003daf7a373f438304c6dfa79bf91b8b7b190ac900333e052c5527a499/01D00AA0-8066-497D-A898-E8544CADA507_1_102_a.jpeg" data-mid="1419270" border="0" /> <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/554a20147f800b2781ef842a457dabb87b574ee641731a370a3e107b66ed3bd7/AF395B6D-AD65-4886-924A-6F655A944C18_1_105_c.jpeg" data-mid="1419269" border="0" data-scale="32"/> 顺藤摸瓜 From There Up To Here #1, 2025 这件作品关注村里的材料流转与再利用。架子来自做废品回收的蔡姐，绳子来自黄叔。灵感则源于村中常见的旧物挪用：无头拖把杆成了晾衣架，铁丝与鞋带用来绑扎，撮箕的柄支撑着植物攀爬。它们或许不牢固，却足够使用。物件被巧妙地拆分与改造，折射出一种在地的生存逻辑——如何让有限的东西刚好够用。 This piece looks at how things move, are reused, and put to work in the village. The frame came from Ms Cai, who trades in scrap; the rope from Mr Huang. Its form was shaped by the re-purposing we saw daily: a mop-stick without a head made into a rack, wires and shoelaces pressed into service, a dustpan handle turned into a prop for a climbing plant. Not firm, but useful enough. Objects split and shifted into new tasks, showing the plain logic of making do. <img width="1086" height="724" width_o="1086" height_o="724" src_o="https://cortex.persona.co/t/original/i/84028bd4e3aa2f5458fef1da7e75e8b2678c2835433ec0710259d0db249a8735/9AA23931-C7A3-4F8B-AE70-E51D17FCECD1_1_105_c.jpeg" data-mid="1419267" border="0" /> <img width="1086" height="724" width_o="1086" height_o="724" src_o="https://cortex.persona.co/t/original/i/9f7190074c3d91893ce10f4f4f3332c052389fbc43657b92215d761c61b5e4be/823592C8-4D85-4245-83F7-879097BF8D2F_1_105_c.jpeg" data-mid="1419266" border="0" /> 顺藤摸瓜 From There Up To Here #2, 2025 这件作品进一步探索物件结构的力与美。烧烤架来自蔡姐的回收，两个烧水壶是周叔的馈赠。他说，如今没人用它们，不如送给我们。我们被壶的工业几何之美吸引，于是张开烧烤架，让它不再是夹持，而是悬挂支撑，使水壶呈现出瀑布般的姿态。其手法与气质，也与楼下的“顺藤摸瓜 #1”呼应。 This work turns to the strength and beauty of structure itself. The grill came from Ms Cai’s recycling; the kettles were Uncle Zhou’s gift. “No one uses them now,” he said, “better you have them.” We liked their hard geometry. We opened the grill, so it no longer clamped but held the kettles in the air, like water falling. The method and the air of the work speak back to From There Up To Here #1 below. <img width="3855" height="5782" width_o="3855" height_o="5782" src_o="https://cortex.persona.co/t/original/i/dd26ed4e7473764633384e93a6631adc204acb5a650c2eb222fec09d8603341c/4EE4191C-C4EC-41F5-8FD2-27332912CD8C_1_201_a.jpeg" data-mid="1419268" border="0" /> 五金水路 Metal Through, 2025 这件作品始于一次“跑偏”的采购。因价格差异，我们没在本村买到所需的五金，而是去了另一村。那里的店主周叔，做了三十余年五金，如今虽退休，却仍热衷配件与机械。听说我们想做一块五金展示板，他索性抽出新木板，边比划边教我们怎么装。只是到了六点他得下班，我们只好留下板子。翌日再去时，周叔已为我们做好一块，并说这样更显动感，水路从上至下流淌。它就这样原封不动地成为了展品。 This piece began with a “detour” in procurement. Because of price differences, we could not find the fittings we needed in the village and instead went to another. There we met Uncle Zhou, a shopkeeper who had worked in hardware for over thirty years. Though retired, he remained passionate about parts and machinery. When he heard that we wanted to assemble a hardware display board, he pulled out a new wooden panel and began demonstrating how to mount the pieces. But at six o’clock he had to close the shop, and we had to leave the panel behind. Returning the next day, we found that Uncle Zhou had already finished one for us, saying that this way it looked more dynamic, with the “water flow” running from top to bottom. It became part of the exhibition just as he had left it. <img width="5637" height="3757" width_o="5637" height_o="3757" src_o="https://cortex.persona.co/t/original/i/6d1d40a2f4821fc2374f4fb246ed5f00a5bdf1782704e71e2617863c404c6b35/74FB2397-A968-4AC3-A8EB-D297DA2DCDBC_1_201_a.jpeg" data-mid="1419272" border="0" /><img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/3086d4330d7ee9cdd25366f7b340077e4a4d08dd4916e831bbd021c2f445628b/77F3EDF9-785A-4EA0-9162-B4E618884614_1_105_c.jpeg" data-mid="1419273" border="0" data-scale="38"/> 做了许多梦 Bubbling Dreams #1, 2025 一条鱼和螺丝垫片摆放在一起，像是在吐泡泡。旁边茶几上，留着租客潦草写下的“⼩哥”二字。我们不禁想，这字迹是不是出自一个小孩哥？写字的人，是否想快快长大？ A fish was placed together with a metal washer, as if blowing bubbles. On the nearby coffee table, the scrawled characters “小哥” (“buddy”) were left by a tenant. We wondered: were these marks written by a young boy, eager to grow up? <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/3cc27efb15d6e3d634c30ef862407158de059d402ec85a90357cd8fc2130e8ac/37527EFA-C95A-4FDE-9E37-B291B2A5F1D7_1_105_c.jpeg" data-mid="1419251" border="0" /> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/3bf6e384361e27e9793adc4a1294e305b911fb2aceae5f4bfbcd7eae3e6765cb/AE07F46B-C793-463E-94A4-4971A7E6651F_1_105_c.jpeg" data-mid="1419276" border="0" /> 路边的风景 Views along the Way, 2025 我们拍摄、收集和记录了一系列在黄边以及在广东其它村散步时偶遇的风景。在此次展览中，我们从中挑选出一部分与大家分享。 We filmed, gathered, and kept a record of the sights we came across while walking in Huangbian and in other villages of Guangdong. For this show, we have chosen a handful to share. <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/0acef6c0515153c2878dd8657ef7bca0cd9959316ab6de5e481b0dd1cb2b32f0/D2A76F01-EC4C-465D-A91F-AF62D5DFFB00_1_105_c.jpeg" data-mid="1419274" border="0" /> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/0e2911bc815d4041b5ad0bf38c7cd106f6e2cfa9e1825ebf4c7fc56b46cf9005/5A13601C-80B5-4EA6-ABCB-77460D961CB9_1_105_c.jpeg" data-mid="1419275" border="0" /> 那谁的周边《三部曲》 The Trilogy of Somebody’s “Souvenirs”, 2025 这一影像系列源自我们同一位不愿透露姓名的邻居的交谈。他自称汉堡。 🍔大学毕业后搬来村里，已有五年。刚来时他细致记账，打算攒一笔小金库去做一些同龄人大概都已做过但他还从未尝试过的事情。例如，旅游、看演唱会。但他却发现怎么也存不下钱，于是记账日渐潦草。 在同我们聊天时，🍔说他刚来村里的第一个月电费超预算太多，于是干脆关掉空调，一关便是五年。后来我们请他写下这段经历，他甚至配上了自己的插画。这便是“三部曲”的第一部。 第二部来自他的钥匙串——上面挂满了各式物件，每件都承载一段独特的回忆。他称之为“My Essentials”。 第三部则讲述他的日结工作和一些趣事：在车展做车美后勤工作，去麦当劳参加品鉴会，提前吃到将要上市的新品。比如，有一次是板烧鸡腿堡把原来切丝的生菜叶部分换成了切块的生菜秆，希望能给食客带来多汁、清脆的口感。另外，🍔最想做的兼职，是穿上人偶服装，但一直没有得到机会。他喜欢橙色，拥有许多橙色T恤，却只有一双黑皮鞋，耐磨又适合做工。他还买了一顶黑色的银河护卫队的电影周边帽，结果戴着干活，“干了一周就掉色了”。 这五年下来，他才深切体会到什么叫“揾食艰难”，什么又叫“小/少数怕长计”。 其实，🍔是设计师，却常羞于承认。他说：“我只是恰好毕业于广告设计的专业，只是恰好拥有做图的技能，只是又恰好对设计感兴趣。自认为不算是一个真正的设计师。I barely call myself a designer. I am not even something of a designer myself.” 尽管如此，我们还是邀请他亲手设计并制作了一系列限量周边（可售卖）。他的日结与这些周边，共同构成了三部曲的终章。 PS：在我们一起讨论如何给这三部曲命名时，有想过加上汉堡的名字。但🍔却说：“我的名字不重要（it could be anybody），重要的是作品本身。” 所以，我们最终将系列命名为“那谁的周边”，取自他用过的微信昵称“那谁”。而 “周边”一来指他喜爱的各类小玩意儿，二来指他生活的四周。至于为什么不愿意透露真实姓名，🍔说：“我觉得我是一个什么样的人，比我叫什么名字更值得认识。” 欢迎翻阅桌上🍔的手写账本与画册，还有他过去五年来收藏的房租收据（可带走的“刮刮乐”） This series of videos began with talks we had with a neighbour who asked not to be named. He calls himself “Burger” 🍔. After finishing university he moved to the village, and has been here five years. At first he kept careful accounts, hoping to put aside a small fund to do the things his peers had long since done but he had never tried—such as travel or going to a concert. In time he found he could never save enough, and the entries in his book grew thin and careless. He told us that in his first month his electricity bill went far over budget. So he switched off the air-conditioner, and kept it off. It has been five years. Later we asked him to write this story down, and he added his own drawings. This became the first part of the trilogy. The second part came from his key-ring. It was heavy with objects, each one holding a memory. He called it My Essentials. The third part tells of his day jobs and odd stories: working behind the scenes at a car show, joining a tasting at McDonald’s, eating products before they went on sale. Once it was a grilled chicken burger where the shredded lettuce was swapped for chopped stalks, meant to give more crunch and juice. His favourite job, though never realised, was to wear a costume suit. He liked the colour orange, and owned many orange shirts, but only one pair of black shoes—tough and fit for work. He bought a black cap from Guardians of the Galaxy; after a week of labour, the colour had gone. Five years on, he said he has learnt what “making a living is hard” really means. And what it means the small, when reckoned in the long run, turns large. He was, by training, a designer, though ashamed to say it. “I only happened to study advertising design. I only happened to have the skills. I only happened to take an interest. I barely call myself a designer. I am not even something of a designer myself.” Even so, we asked him to design and make a set of limited souvenirs (for sale). His day jobs, together with these pieces, form the last part of the trilogy. On the table are his hand-written account book and sketchbook, and five years’ worth of rent receipts (which you may take away as a kind of “scratch-card”). When we talked of naming the trilogy, we thought of using the name “Burger”. He hesitated. “My name is not important—it could be anybody. What matters is the work.” So we called the series Somebody’s Souvenirs. That “Somebody” is from an old nickname he once used online. “Souvenirs” spoke both of the trinkets he liked and the four walls around him. As for why he did not give his real name, he said: “What sort of person I am is more worth knowing than what I am called.” ☗ It works (somehow)! -&nbsp;Urban Village Residency Programme Times 101, Guangzhou Huangbian Village 刚刚好... 黄边驻地公众号 http://danying.me/457821 Wed, 10 Sep 2025 06:03:19 +0000 danying 457821 En | 中文 <img width="745" height="1054" width_o="745" height_o="1054" src_o="https://cortex.persona.co/t/original/i/32cce7316bd47a056737718e5f5f949f4f08413824180ae7c5c6745c64889bbb/13A70028-8ADB-49CC-8F74-21FAB25F7CB4_1_105_c.jpeg" data-mid="1418734" border="0" data-scale="54"/><img width="746" height="1054" width_o="746" height_o="1054" src_o="https://cortex.persona.co/t/original/i/bbaeae249872bd4e85af0dbd3f35a1cf601344ef41eb2c92e3bf6b2d0e0287e6/1CD77B5E-85D7-45E2-8F7B-852BF0D70724_1_105_c.jpeg" data-mid="1418740" border="0" data-scale="54"/><img width="2375" height="3358" width_o="2375" height_o="3358" src_o="https://cortex.persona.co/t/original/i/2acba0897687699a75e6856b8de34156b1af7c8c0cad1d1764ee9fb0094baa46/DB9DF8FF-89D4-4AE1-B714-7695387B540A_1_201_a.jpeg" data-mid="1418741" border="0" data-scale="55"/>Floorplan, Exhibition Statement No.103, 4 Zhonghe Li, Huangbian Village, Baiyun District, Guangzhou, ChinaExhibition runs from 1–24 September 2025, Wednesday to Saturday, 3–9 pm. Curator &amp; Artist: Bones of The House The idea of staging an exhibition inside a rented flat, and treating the flat itself as an exhibition space, first arose from our experience of living in a Shenzhen urban village. When our plans unexpectedly changed, we had to terminate the tenancy early. This meant a frantic week of showing prospective tenants around, scrubbing and tidying the place, doing our best to make it appealing to them. Each visitor focused on different things: one worried about the loo, another scrutinised the sitting room, while others asked about the utility bills and the light. After several rounds of this, we realised how much it resembled an “exhibition-in-progress”. The room became a gallery, and we ourselves were not only the guides but also part of the show. Everyday traces of our lives—the plants and fish we kept, the arrangement of the furniture, even the state of the bathroom—became material on display, a live composition about who we were. So when we returned to Huangbian Village this time and saw the house opposite Times 101 thrown wide open, it struck us as the perfect chance to realise that idea. During last year’s residency, though separated by only a metre, we never once exchanged words with that household—indeed, we never even caught a proper glimpse of them. This was perhaps because, once Times 101 rolled up its shutter, the space opened entirely to view: anyone passing down the alley could take in the whole scene at a glance. The flat opposite was the same; once its door was open, the interior lay completely exposed. As a result, it was kept firmly shut. Only when a food delivery arrived would it open a crack—just wide enough for a hand to reach out and take the parcel inside. This air of secrecy persisted until this summer. One afternoon, as we sat chatting with our shutter open, we suddenly saw three people arrive to view the flat opposite. For the very first time, the space revealed itself in full daylight. A couple lingered in the doorway, weighing up the possibilities of life there. They had been brought by Mr Wei, a man from Hunan who has been in the village rental business for years. That very evening, we made our intentions clear and took the flat (No. 103) from him for a month-long exhibition. <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/cb072836f77ffdf05e40084ba6d9c5430cdb7cce8901051fe6fc9126b30bcee1/A388C73C-A5B7-494E-B47F-6C50978DAC2A_1_105_c.jpeg" data-mid="1418747" border="0" data-scale="53"/>24 August – Mr. Wei showing the flat to prospective tenants On 25 August, we rented the flat, gave it a quick clean, and moved in two provisional pieces we had already been working on in the Times 101 space. That evening we counted the days: from signing the lease to the end of our residency, there was barely a week left. One way or another, we knew we would have to extend our stay. With just about a week in hand, we treated this residency as a kind of “extreme challenge”: staging an exhibition in a rented flat, where house-viewing becomes exhibition-viewing. The aim was not to build a show from scratch, but to let it grow out of the flat’s own structure and the traces of everyday life left behind. We decided to preserve these traces intact: holes, hooks and Velcro on the walls; a sealed-off water pipe; a blue-checked quilt tied to the iron grille; a makeshift storage pouch sewn from a bedsheet under the stairs; an old bulb on the bedframe; scented sachets tucked into the wardrobe; a floor mat reading “Move more, eat less”; a mouldy bamboo mat under the bed; a glass lid hanging in the kitchen; cleaning products by the sink; and the standard furnishings of a Guangdong rental—two stools, a mirror, a small tea table, a wooden sofa, plus mop and dustpan. <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/3ed8649a83ecdcc9a1619c4bd8e1442c6a92f7c5b6a9e2e707137b2cf251d5bd/0C262CED-B8B6-4710-A839-A8344D0AC3C7_1_105_c.jpeg" data-mid="1418749" border="0" data-scale="53"/><img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/7408f9476c04ffdcfa4eb838e3bc714c7197a97ee38f6d2d0a2a169cee41997c/13AC2463-05FB-4550-877E-566FE3B73CD6_1_105_c.jpeg" data-mid="1418748" border="0" data-scale="53"/><img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/137c39ea38f4df5ef7565ebfae21f9a59ca37735e2b753b07e75da576fc53e45/2DEC4E82-1BF4-41BE-833E-66900A00D084_1_105_c.jpeg" data-mid="1418746" border="0" data-scale="53"/><img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/820df74f63ce6f47d5d8ce2b96b87f7e80fa561d4cadb5902ab44e495f4a91e0/F40EB6DC-58F9-4B59-9F64-53BFB606994E_1_105_c.jpeg" data-mid="1418750" border="0" data-scale="53"/>interior view <img width="1448" height="2172" width_o="1448" height_o="2172" src_o="https://cortex.persona.co/t/original/i/9c7ca8be3e76b399e51cc7db78bc369fc5632a2b93672ac9436493d7e90e15fb/3512113E-9042-4145-AD1A-A57D1D5AD307_1_102_a.jpeg" data-mid="1418738" border="0" data-scale="53"/>installation view This rented flat is itself a kind of ready-made sculpture—shaped by layers of additions, repairs and extensions made under limited conditions. The moment prospective tenants start to size it up, two threads of the exhibition naturally emerge—just like the duplex structure of the flat, telling two stories. These threads reflect the focus of our residency project It works somehow!: one follows the logic of things and structures, tracing how residents improvise with materials and temporary constructions; the other follows lived narratives, probing the tensions and misalignments between personal aspirations, family plans and the city’s rhythms. Through sculptural language we try to capture the logic of spatial gestures, and through writing and video we trace the everyday calculations and dilemmas of life. The room’s traces are re-activated: a bed frame becomes an unfinished scaffold; exposed pipes and fittings are extended, highlighting the overlooked architecture of daily life. On an old desk upstairs lies a tenant’s five-year collection of handwritten ledgers and rent receipts, alongside a trilogy of videos about his “surroundings.” The bed carries loose screws that still shift now and then, together with the many dreams once dreamt here. As visitors move between the two levels, they are both house-viewers and exhibition-viewers—experiencing how life continuously shapes space, and how space, in turn, shapes the body, the senses, and even dreams.<img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/6bb8f6f6f709bf606275bd910f84fc35a9b299b76a33fee5aaa2bf99652f1048/078658A3-D820-4D06-80D7-380C3C4B5D60_1_105_c.jpeg" data-mid="1418751" border="0" data-scale="53"/><img width="4000" height="6000" width_o="4000" height_o="6000" src_o="https://cortex.persona.co/t/original/i/6fd3e558ee8f3aeadc5cbf7dd8aaf296247ca2e15ca78c891a6b796791684eb2/0E9DC84F-73CA-4F70-B8BB-6B9121A70CAD_1_201_a.jpeg" data-mid="1418756" border="0" data-scale="53"/><img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/e6ae39c7b25338764943acc023fb6e62d157433fdd33f52b3413d57226f7efe5/E1B803CC-ECE8-4761-BC40-DBD931C71BE0_1_105_c.jpeg" data-mid="1418757" border="0" data-scale="53"/>the everyday ingenuity of villagers As Liu Yang, the director of Times 101, once remarked: here, residency does not culminate in an exhibition. It is not an end point, but a beginning. It is precisely through such occasions that we are able to build relationships with those who live here, even forming deeper connections. This is why we especially look forward to hearing everyone’s varied “flat-viewing feedback.” Before deciding to rent No.103 for an exhibition, we hesitated, asking ourselves again and again: “An exhibition in a rented flat—what then?” Only as the process unfolded, from making to installing, did a clearer picture begin to emerge. We realised that if we worked with ready-mades—especially discarded materials recycled from the village—our temporary sculptures risked being swallowed up by the atmosphere of the space. After all, this is not a white cube, but a rented flat saturated with traces of everyday life. The question of how to position and extend our works so that they converse with the space became an enormous challenge. A slight misstep, and what might otherwise be called a “sculpture” would appear here as little more than “waste.” <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/d487765cd8a60157addd57f5cd510806909aaa6e954b0542500997229ff644a4/E8385D54-4721-433A-8E42-409D465E1007_1_105_c.jpeg" data-mid="1418752" border="0" data-scale="54"/><img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/a6d8219cb65201d2be729f5c5d92586a0eca1f4f9e2a6bcceb502bff5baf0cd9/802AA1B4-E347-43C7-A6E3-AE2E1F69BBDD_1_105_c.jpeg" data-mid="1418754" border="0" data-scale="54"/><img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/9f380b6bcec14d53b6ddc1aa4def63c99fe24d783e8b3af143160ab3fbd2603c/E5D6088A-EBCA-4FAF-8356-7AACD4C1E000_1_105_c.jpeg" data-mid="1418762" border="0" data-scale="54"/>locally sourced recycled materials <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/0f0b50269ff7ec2455102ede251e0b9f91a0977affa962827ff74a4072bf178b/1c35de034652a26f967715ec3edef5d0.jpg" data-mid="1418768" border="0" data-scale="54"/><img width="1536" height="2048" width_o="1536" height_o="2048" src_o="https://cortex.persona.co/t/original/i/c58d669e055df99c1c3d89cab7c1caad8c2d3bb4327d89c231ec33eb60ffe2b9/52df09fb42fc3d4af8e58c61e528e979.jpg" data-mid="1418769" border="0" data-scale="54"/><img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/70bdaf1181a15b3e7bc9d0bf5ab32b9f36a22615c8893d992d87f5cdac78c34b/DD7BA93C-D629-4ED0-98C2-6DAC50AF79DC_1_105_c.jpeg" data-mid="1418767" border="0" data-scale="54"/><img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/408a2b83a2bedfb175712b6d16c8bb6b6128fcca02da1181af9982bb8a776336/DDF9407E-C1B3-4417-91CC-C3E5611DB0CE_1_105_c.jpeg" data-mid="1418766" border="0" data-scale="54"/>Work-in-progress photo It is for this reason that the rented flat feels so distinctive as an exhibition space. Not merely because it is soon to be demolished, but because its embeddedness in place is so strong. Much like viewing a house before buying, one must step inside to sense its potential for future life. Likewise, for those who have never actually lived in the village, only by entering such a flat—not a gallery space designed for display—can one grasp how life here is shaped. It is only by being inside that you can hear the water rushing through the pipes in the walls, catch the smell of mothballs, experience a room that has never seen natural light, and feel the dizziness of living perpetually under artificial light. Only then can you notice the kitchen’s extractor fan, blackened with grease, or the drifting smoke from next door that never quite disperses. Only then can you learn, through trial and error, how to flush a toilet in a crude, makeshift way without splashing your legs. All these small conveniences and inconveniences allow us to feel, in the most direct way, how space moulds the body, the senses, and one’s very understanding of life. So we invite you to come, to experience it for yourself, and to share your impressions with us. Only through your feedback can we begin to sketch the contours of an answer to the question: An exhibition in a rented flat—what then? back En | 中文 Floorplan, Exhibition Statement No.103, 4 Zhonghe Li, Huangbian Village, Baiyun District, Guangzhou, ChinaExhibition runs from 1–24 September 2025,... where the bricks shift http://danying.me/where-the-bricks-shift Sun, 08 Jun 2025 18:00:34 +0000 danying 457082 Where the Bricks Shift&nbsp;当砖块开始松动, 2024 <img width="3575" height="5362" width_o="3575" height_o="5362" src_o="https://cortex.persona.co/t/original/i/b36317908210ea8720761b00c4491f3eebc2e45f270203251e786ba5db064d19/DAN00870.jpg" data-mid="1410041" border="0" data-scale="100"/> <img width="3437" height="5156" width_o="3437" height_o="5156" src_o="https://cortex.persona.co/t/original/i/182bb64848e761047dee4102bf8123fbc0452bbdf6eecd64402160bf18081cfb/DAN00852.jpg" data-mid="1410043" border="0" /> <img width="2276" height="3014" width_o="2276" height_o="3014" src_o="https://cortex.persona.co/t/original/i/3aa5a33941cb2be823ce48155caf25cbb4cba6d04b84cea5fc6d920bfe6689c0/-3.jpg" data-mid="1410061" border="0" data-scale="64"/> Acrylic and coloured pencil on wood panel, 30 × 22.6 × 2.5 cm <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/4c59c548a4d20de7c84be43693cf2ec2c2ff419d59d66179b612705768c80cf1/FF9724ED-3054-4544-939B-A9ACB0D0AB29_1_105_c.jpeg" data-mid="1410052" border="0" /> <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/46c1fea243ce7a102478200dc4a9e891636efba2ce58f6df9e5a1a414df26c99/FE518B16-0765-477F-90B6-C435B8C92EBF_1_105_c.jpeg" data-mid="1410054" border="0" /> <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/ce8899254efedd7942acfa6ffe09d19c3f49546e11fa819328cff50f786f4abc/2ACB09A1-8D06-4B17-9375-36AD0F81034A_1_105_c.jpeg" data-mid="1410055" border="0" /> <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/5e484e916fe2e2b2199275f5b598410c6a044791889c129427a0067a1da6179e/2ECF007F-2810-4AC7-B056-017104B12B6C_1_105_c.jpeg" data-mid="1410056" border="0" /> <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/050d375da66a584a890167fb3900e57986fe7ff5b09c4c7b08c06fcd86bc269a/0DA77148-FA0B-4082-857A-78A6570FDC18_1_105_c.jpeg" data-mid="1410070" border="0" />The London Archives <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/8711950ea5b3babe77e7153e7f33603e32f5fa93b3168956146c937109832e16/B3585109-66ED-4269-9755-E889B091150A_1_105_c.jpeg" data-mid="1410073" border="0" /> <img width="1170" height="1136" width_o="1170" height_o="1136" src_o="https://cortex.persona.co/t/original/i/437d1b061edba9075775cca69f943f764c91ce928f8a27a189de9c928477461f/C268F25A-66C3-4111-B8C7-BBEAA99F031F_1_201_a.jpeg" data-mid="1410069" border="0" /> <img width="2480" height="2430" width_o="2480" height_o="2430" src_o="https://cortex.persona.co/t/original/i/9810bb25818d30b747aa11d867953749276adb096e90663504cbf9b35b05bc75/queens-court.jpg" data-mid="1410076" border="0" /> This work draws from my personal experience of inhabiting a flat in west London. It offers a layered visual study that merges the view from my living room window with fragments of the building’s architectural plan. By combining hand-drawn elements such as window frames, floor plans, and tree-like forms observed outside, the composition operates at the intersection of interior perception and external structure. The overlapping lines, red annotations, and grid-like fragments echo both physical proximity and emotional mapping—an attempt to reframe domestic space as a site of spatial memory and lived negotiation. ☗ Where the Bricks Shift&nbsp;当砖块开始松动, 2024 Acrylic and coloured pencil on wood panel, 30 × 22.6 × 2.5 cm The London Archives ... 关节练习 statement http://danying.me/statement-1 Wed, 07 May 2025 00:22:14 +0000 danying 456748 <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/38cec15df6c2fd9c19aa1708f2ac1b8e793ebd1dd1dbfa5fe90187488cd01ad7/EFF71BF8-2FDE-4B59-B356-5D3A3A08D049_1_105_c.jpeg" data-mid="1407921" border="0" />Hong Kong (03.08.24) <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/5a3eb36ef15285a399ffdf90f1b45ebc1bf66504981da2d2436931e2056c4fe1/015D6304-2A4A-4165-95F4-156263C6EED4_1_105_c.jpeg" data-mid="1407920" border="0" />London (01.03.25) <img width="3004" height="4006" width_o="3004" height_o="4006" src_o="https://cortex.persona.co/t/original/i/9bdf70aec7b3e93b82e48b165c3a06e6c8a03d5ee4cbf3b29bcd13903beff770/6A276309-5B35-4572-83C3-56CBCCFC342F_1_201_a.jpeg" data-mid="1407924" border="0" />Shanghai (22.02.23) Joint Exercise is an ongoing series exploring how individuals in transitional, informal living environments establish temporary yet effective forms of spatial order through vernacular creativity. I use this as a lens to investigate a pragmatic, resilient, and unpolished aesthetic—one shaped by survival strategies and spatial improvisation. While the works do not seek to represent specific sites, their structural logic is deeply informed by spatial practices observed in urban villages across China (Shanghai, Shenzhen, Guangzhou) and self-built settlements in Mexico City. These environments offer key reference points, particularly in how individuals navigate precarious conditions through material reuse, ad-hoc arrangements, and spontaneous construction. From these small-scale, everyday responses, I extract spatial languages and gestural logics, which are internalised as a sculptural grammar. This grammar centres on material connections, instability, and provisional order—forming an open, adaptable system of composition. Each work is conceived as a modular structure, designed to be disassembled and reconfigured for repeated use. The materials are sourced from discarded objects found on the streets of London and leftover items from my home, supplemented by standardised industrial components. Formally, the works hover between structural frameworks and improvised assemblage, with modes of connection—such as wrapping, piercing, hanging, leaning, and binding—functioning as “joint exercises” that respond to the specificities of each material and hold tension within uncertainty. The first piece in the series takes the form of a window—like those embedded in the dense architecture of Chinese urban villages—evoking the sensation of looking inward from a narrow, enclosed space, as if peering through a small opening inside a box. 《关节练习》是一个持续推进的系列，关注个体如何在过渡性、非正式的居住环境中，通过创造性的民间智慧建立起临时而有效的生活秩序。我由此探讨一种质朴、务实且富有韧性的美学，以及其背后的生存策略与空间应对逻辑。 尽管作品并不意图再现具体场景，其构成逻辑却深受中国城中村（如上海、深圳、广州）与墨西哥城自建房等空间实践的启发。这些环境为我提供了关键参照，尤其体现在个体如何通过材料再利用、拼贴布置与自发建构，来应对不稳定的栖居条件。 我从这些微小而具体的应对方式中提取空间语言与动作逻辑，并将其内化为一种雕塑语法——以材料连接、不稳定性与临时秩序为核心，构建出一个开放而灵活的构成系统。每件作品均被构思为可拆卸、可重组的模块化结构，便于循环使用与多次搭建。材料主要来自我在伦敦街头拾取的闲置物件与家中的边角料，辅以部分标准化的工业构件。形式上，作品游走于结构框架与即兴装配之间，其连接方式（如缠绕、穿孔、悬挂、搭靠、绑定等）正是一种“节点练习”，基于材料特性展开，并成为支撑结构张力与不确定性的关键环节。 <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/533519f38baaebf18b63faaeb5bbd44c14e17e2efcf0201a7302f956744f63f6/02F70C23-EBA6-43EF-A215-9B0F566C012D_1_105_c.jpeg" data-mid="1406400" border="0" /> <img width="1536" height="2048" width_o="1536" height_o="2048" src_o="https://cortex.persona.co/t/original/i/f1f2aea1c1010e641084a0d7a262996ab95aa2eb8b1e2db20998e9ebfe3675c1/33DFC563-78D8-48F4-9275-F97CDC189C0C_1_102_o.jpeg" data-mid="1407906" border="0" /> <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/a46000ef7093bec9ddcf673ac52ea70e1d3dc410b2bad35568bf0ca7563f168b/9BD2603D-E6C5-4000-B452-26B5AE0A701A_1_105_c.jpeg" data-mid="1407907" border="0" /> <img width="2629" height="3506" width_o="2629" height_o="3506" src_o="https://cortex.persona.co/t/original/i/9cac88f20e3fe6280e2bd0df2374c6fee5a1edd73d30e6d6a77034760ca3ac11/9AD5470F-8624-4FBB-BAFB-2CF749FABB86_1_201_a.jpeg" data-mid="1406401" border="0" /> The use of found objects and industrial materials stems from my fieldworks in urban villages and informal settlements, where I came to understand that “resource scarcity” does not necessarily imply absence, but rather conditions of ownership and access. In such environments, the very notion of “waste” becomes contingent and culturally defined. In cities with segmented governance, wealthier districts tend to prioritise cleanliness, safety, and predictability. Street-level tidiness becomes a form of cultural and spatial control. By contrast, in communities under greater social and economic pressure, waste is not swiftly removed, but remains visible and available. Residents are more likely to reclaim, repair, or reconfigure these loose, mobile components. This is not merely a matter of necessity, but a cultural strategy: salvaging becomes a form of spatial agency. Items deemed "useless" by some are redefined as potential resources, and the circulation and improvisational use of materials become integral to everyday spatial practice. When collecting materials myself, I often feel as if I’m racing against time. In the area where I live, strict street-cleaning regimes mean that reusable materials often disappear quickly. I’ve missed promising components due to hesitation or poor timing. By contrast, the makeshift shelters built by nearby rough sleepers demonstrate a striking sense of appropriateness—material choices, structural logic, and spatial placement all reveal an attuned environmental awareness: which locations offer safety, which materials endure, which surfaces provide support, and where brief occupation is viable. I do not intend to romanticise these precarious conditions. But within the traces of repair, adaptation and reassembly lies a powerful proposition: that space is not always produced from blueprints, but from the improvisational negotiations of everyday life. These “grey zones” often fall outside formal planning systems, yet continue to grow in patchwork fashion, forming complex and deeply lived urban realities. They are not truly “invisible”, but are instead rendered unseen—marginalised through policy, aesthetics, or systemic oversight. This condition of intentional invisibility leads me to ask: what forms of inhabitation truly belong to urban life? And which spaces deserve to be preserved, acknowledged, and respected? 我之所以选择这些材料，是因为在对中国城中村和墨西哥等地非正式住房的研究中，我逐渐意识到：“资源匮乏”不一定意味着“没有”，而是“被谁所拥有、谁可以接近”。在这样的社区中，“废弃物”本身就带有文化属性，值得被重新理解。 在城市治理结构高度分区的背景下，高收入社区往往更强调“整洁、安全、可预期”，街道的干净成为一种空间规训的象征。而在社会与经济压力更大的区域中，废弃物并不会被快速清除，反而以一种“可见—可取”的方式存在于公共空间中。居民也更容易就地取材，修复或重组这些易于拆解与流通的材料。这不仅是出于生存的需要，也是一种文化策略：“拾取”成为空间能动性的体现。他人视为“无用”的物品被重新定义为“潜在资源”，而材料的流转与即兴使用，也构成了日常空间实践的一部分。 在我进行材料收集时，总觉得自己像在与时间赛跑。由于我所居住区域的清洁管理较为严格，街道上的可回收材料往往稍纵即逝。好几次，我因为犹豫或时机不对，错过了心仪的材料。反观附近流浪者所搭建的临时庇护所，让我感受到一种令人惊叹的适切性 —— 他们对于材料的选择、构造方式与空间布局似乎都经过了因地制宜的判断，展现出对周遭环境敏锐的判断力：哪些区域相对安全、哪些材料足够坚固、哪些结构可以借力、哪里适合短暂停留。 我无意浪漫化生存处境。但正是在这些修补、改装、重构的痕迹中，我们得以重新思考空间的本质：它未必起始于建筑图纸，而源于生活里不断发生的即兴操演。这些“灰区”通常游离于城市规划之外，却以拼贴的方式自发生长，构成真实且复杂的城市生活图景。它们并非真正“不可见”，而是在制度、政策、审美或具体语境中被有意忽略、推至边缘。这些空间的“被遮蔽”，促使我在创作中进一步追问：什么样的居住方式才算真正属于城市生活？又有哪些空间值得被保留、被呈现、被尊重？ back Hong Kong (03.08.24) London (01.03.25) Shanghai (22.02.23) Joint Exercise is an ongoing series exploring how individuals in transitional, informal living... 关节联系2 http://danying.me/2 Tue, 06 May 2025 23:38:21 +0000 danying 456747 Joint Exercise II: Salvaged Syntax, 2025关节练习(II): 拾得句法 ⏥ statement <img width="3526" height="5290" width_o="3526" height_o="5290" src_o="https://cortex.persona.co/t/original/i/c4408fba659afb9775028bde9d9be376e5c13e8338cf326641c3d09f2de5861c/DSC07591.jpeg" data-mid="1406378" border="0" data-scale="95"/> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/7317a342b458b90f34f9ffad819aff4ece1c72f542b539f634706858339b1b95/47D841CA-7CF4-4107-A07D-4F4700FFE312_1_105_c.jpeg" data-mid="1406393" border="0" data-scale="95"/> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/4d17465b33765fea0a22700d8b92abd01d32c963c5bbdcbdc97d9094708b55ed/22C540E9-27A4-415F-8B48-F0B5E9E87B31_1_105_c.jpeg" data-mid="1406389" border="0" data-scale="95"/> <img width="1448" height="2172" width_o="1448" height_o="2172" 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border="0" /> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/c7a9fbef10dd48d521c43f3bac6f60846634b89ea98df394cfb457eb9a5f6137/DDB18F80-F4AA-4016-87F5-DF074961E5FA_1_105_c.jpeg" data-mid="1406380" border="0" /> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/015b9b1431c07f9f0f0a98e29aae78618f8fbdd8133ac465e6a4f9c5db14fdbd/F46C1BA9-5E7F-48E1-9098-84634D90CE21_1_105_c.jpeg" data-mid="1406390" border="0" data-scale="95"/> <img width="1448" height="2172" width_o="1448" height_o="2172" src_o="https://cortex.persona.co/t/original/i/27233aa0c50640182156497197b7ec3e91a58058b9a16152cd2ce02117b35048/A0B37A59-629B-4DDE-B686-CC7CACF85BE8_1_102_o.jpeg" data-mid="1406396" border="0" data-scale="95"/> <img width="3826" height="5739" width_o="3826" height_o="5739" 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border="0" data-scale="95"/> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/622e0358c9cb463d9125ecea64aa6924cb764df4020f305b6735dc1c174098b2/54FE81C5-9666-44E3-A90B-D6A5D9D755DB_1_105_c.jpeg" data-mid="1406394" border="0" data-scale="95"/> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/425825998a3138e2325e68bacfe0097cdc30e5bae19a527857a0113481607616/B67C9B20-94A6-4731-8AC7-6EAE4DD9700E_1_105_c.jpeg" data-mid="1406397" border="0" data-scale="95"/> 150(L)x36(W)x200(H)cm PVC fruit pattern table mat, wooden slats, two unknown-purpose metal strips curtain rod &amp; track and plate rack found in a rubbish dump area in London, elastic cord, shoelaces and plastic cable ties bought from a pound shop, spare glass, mirror, broken food covers, wire with clothesline knots, UV print on acrylic sheet, aluminum profiles and accessories, nails, washing-up brush, peeling plaster caused by dampness ☗ Joint Exercise II: Salvaged Syntax, 2025关节练习(II): 拾得句法 ⏥ statement 150(L)x36(W)x200(H)cm PVC... 关节练习1 http://danying.me/1 Wed, 02 Apr 2025 23:31:37 +0000 danying 456439 Joint Exercise I: Threading The Needle,&nbsp;2025关节练习(I): 穿针引线 <img width="1448" height="2172" width_o="1448" height_o="2172" src_o="https://cortex.persona.co/t/original/i/64893f2ccfb1d7f529a0d39249f9841f1f7dad7823fb7a7a1a45e05a6827547d/CE3F70F7-A665-44CA-A46A-7042726E4876_1_102_a.jpeg" data-mid="1402328" border="0" data-scale="95"/> <img width="1920" height="2880" width_o="1920" height_o="2880" src_o="https://cortex.persona.co/t/original/i/2404ba62f0a2a8748a3061a61d65471344fdc07589e189380c32607a0d4768f4/2E525174-9927-4AE1-BB21-E27DFA639CC7_1_201_a.jpeg" data-mid="1402332" border="0" data-scale="95"/> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/a8a5177fb7be073a675c548237f96ea7c272c2d997b5eb41cc5b25ba07994620/B681B39D-1CED-495B-B401-6545C1C65714_1_105_c.jpeg" data-mid="1402333" border="0" data-scale="95"/> <img width="1448" height="2172" width_o="1448" height_o="2172" src_o="https://cortex.persona.co/t/original/i/de19e6709bf00363e380aed1331402aa96a39f43e5a6f597de8d6bd9b1c8e67a/7A630857-F710-44DD-84BB-9465C62D7462_1_102_a.jpeg" data-mid="1402341" border="0" data-scale="95"/> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/cc7fd8af4daa6a5aa57949951b9e6bf31f3a7e9c8bfc9a69db94b538f524d24b/41112214-AE2E-4F81-A902-78DA25D66A25_1_105_c.jpeg" data-mid="1402337" border="0" data-scale="95"/> <img width="724" height="1086" width_o="724" height_o="1086" src_o="https://cortex.persona.co/t/original/i/c8f1db0b2bced394509b89214c84d37c403e8ea3a4c7f3dd10182bcaf5ff7781/0261D27B-671C-4F00-B09F-62B959D729CC_1_105_c.jpeg" data-mid="1402330" border="0" data-scale="95"/> <img width="3053" height="4579" width_o="3053" height_o="4579" src_o="https://cortex.persona.co/t/original/i/979f8bd3518a6829964096d3b44b32e52260b8b22a9951ab86c291005d64ddf2/35563B34-D345-4CE0-BD30-0D0C7D330A53_1_201_a.jpeg" data-mid="1402335" border="0" data-scale="73"/> <img width="3915" height="5873" width_o="3915" height_o="5873" src_o="https://cortex.persona.co/t/original/i/1b3eb9f650fa1642951f9c36c187b33cfd0fef9845233820c705a0822e138006/.jpg" data-mid="1411968" border="0" data-scale="73"/>22(W)x50(L)x60(H)cm Aluminium profiles, glass, metal, flower pot, PVC table mat, found wooden slats, shoelace, textile thread, doorknob, keys, kitchen waterproof paper, sponge, needle, resin, toothbrush, wooden stick, glass jar ☗ Joint Exercise I: Threading The Needle,&nbsp;2025关节练习(I): 穿针引线 22(W)x50(L)x60(H)cm Aluminium... MOD OFF-悬丝-门 http://danying.me/MOD-OFF-1 Tue, 04 Mar 2025 15:25:09 +0000 danying 456103 &lt; doors &gt; <img width="1125" height="699" width_o="1125" height_o="699" src_o="https://cortex.persona.co/t/original/i/44a56e6daaf7e92adc6f2d133ab6f31479674ea3e6d25772882f9ba0d9b23d9b/11F84445-0534-470F-921D-8C603073E9D8_1_105_c.jpeg" data-mid="1399006" border="0" /> <img width="768" height="1024" width_o="768" height_o="1024" src_o="https://cortex.persona.co/t/original/i/6d086263271e123465a69cb725e04dba04f43d7f0ce6b6fc5233c97466ff5ca6/A89358C2-4368-4F59-9DEB-F9E7ED6ED9C9_1_105_c.jpeg" data-mid="1399008" border="0" data-scale="95"/><img width="1535" height="2048" width_o="1535" height_o="2048" src_o="https://cortex.persona.co/t/original/i/776ff6cf99db67f9791d4286dbdab2cdc87dcf7a546d6aeddad34ae871684f2d/C9CE2354-002F-4258-9718-1694BE134136_1_102_a.jpeg" data-mid="1399019" border="0" data-scale="89"/><img width="768" height="1024" width_o="768" height_o="1024" 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