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Danh Vo
Danh Vo / 傅丹
Untitled / 无题
2020
Cedarwood structure and plants / 杉木结构和植物
500 × 600 × 600 cm
《无题》（2020）的结构取材于侗族建筑。傅丹在访问侗寨时被当地造型简洁的亭子所吸引。这些亭子通常建在田野和道路的边缘，是村民、儿童和镇民的聚集地，也是他们日常遮阳避雨的地方。侗族的亭台楼阁以本地出产的优质杉木建造，显著特点包括悬挂着的支撑整个空间高度的梁柱，这根梁柱由与六根外柱相交的六根横梁支撑，所有柱子都通过中国传统的榫卯技术连接在一起。2018 年以来，傅丹在不同的展览中展出了这件作品的不同型式，作品的整体结构灵活且可塑性强。亭子的屋顶保持通透，可以让人更好地看到内部结体的精妙，也让亭子成为一个可以承接多种植物的结构。
The structure of Untitled, 2020 is drawn from the architecture of the Dong (Kam) people, a minority population found in the hills bordering the Chinese provinces of Guizhou, Hunan and Guangxi. On a visit to the region, Vo was charmed by these simple pavilions, found on the edges of fields and roads, used by farmers, children and townsfolk as gathering places, or simply to shelter from the sun and rain. The region is rich in pine forests, and the pavilions are constructed with fine cedar. A distinctive feature is their hanging central column, which allows for more height within the space, supported by six beams that intersect with six outer pillars, all held together by the traditional building technique of tenons and mortise links. Vo has featured a variety of versions in exhibitions since 2018, for the viewer they function as communal refuges from the often austere, even corporate, context of institutional contemporary art. A flexible and adaptable structure, the pavilion is left unfinished, without a roof, exposing its inner intricacy and enabling the work to host a cornucopia of vibrant plants.
Danh Vo / 傅丹
Untitled / 无题
2021
Pencil on paper and C-print, writing by Phung Vo
42 × 29.7 cm (collage); 45 × 32 × 3.7 cm (framed)
纸上铅笔和彩色照片，由Phung Vo 书写
42 × 29.7 cm (拼贴照片); 45 × 32 × 3.7 cm (相框)
这些关于花的拼贴照片反映了傅丹如何将精力投入到花之美，并致力于寻找新的质朴形态。花园内拍摄的花卉照片彩印后贴在纸上，由他父亲用铅笔在纸上描绘出它们的拉丁名称。作品有一种百科全书式的氛围，像是从一本巨大的书中摘下来的书页。作品的形态与拉丁名称共同展示了人类如何根据自身的价值观对大自然进行索引、规划。这些名称不仅含括了全球交流、殖民主义和权力的历史，也有美学、实用性的交叉影响。对傅丹来说，培育花园本身成为创作过程中一种既有实践意义又具象征意义的解放。
These collages feature a new series Danh Vo started that focuses on flowers. The flowers were labelled in pencil with their Latin name by his father using his beautiful handwriting. The works have an encyclopaedic aura, like pages plucked from a large book and framed. This presentation along with the Latin names shows how we index and formulate nature according to our own values. In the names there is a history of global exchange, colonialism, and power, but also of aesthetics, utility, and cross fertilization. For Danh Vo nurturing the garden becomes a practical and symbolical liberation in the creative process.
图文由艺术家和维他命艺术空间惠允
Courtesy of the artist and Vitamin Creative Space