易美术馆开馆展将荣幸呈现艺术家林天苗与苏珊·菲利普斯（Susan Philipsz）的双个展——“织声：缺席处的回响”。

来自中国和英国的两位重要女性艺术家，分别以编织物与声音为主要艺术创作媒介，对于不同场域内隐匿存在的可视化进行了探索。无论林天苗的丝线解构符号秩序，还是苏珊·菲利普斯用声音重构的记忆场域，皆共同揭示了如何将“缺席”转化为“在场”的特殊形态。

林天苗赋予抽象概念以物质形态。进入展厅观众所见的首件作品《凸起的纹样》，艺术家将采样于互联网中与女性相关的词汇编织嵌入羊毛地毯，形成语义演变的沉积层，观众被迫行走于作品之上所产生的物理行动障碍，和语言本身带来的抽象阻碍形成了互为关系；《网》以彩线缠绕工业铁丝，使刚硬材质转化为温润肌理；《看影》和《聚焦》系列用棉线穿刺画布，在二维画面构筑起三维印记。而苏珊·菲利普斯则实现了听觉的雕塑转化。《苏珊、芭芭拉、琼与莎拉》中分离歌声与静默影像形成时空对话；《尘封》的呼吸水雾成为生命瞬态拓片；《七滴眼泪》借酒杯振动复现文艺复兴的旋律。其为展览全新创作的《声镜》装置以抛物面铝板反射音频轨迹，令观众的身体参与到声音的空间构建之中。

Lin Tianmiao gives abstract concepts a material form. The first work encountered in the exhibition hall, Protruding Patterns, sees the artist weaving words related to women sampled from the internet into a wool carpet, creating sedimentary layers of semantic evolution. The physical impediment experienced by viewers forced to walk upon the work and the abstract obstruction posed by language itself forms a reciprocal relationship. Net uses colorful threads to wrap around industrial iron wire, transforming the rigid material into a warm texture. The Seeing Shadows and Focus series uses cotton thread to pierce the canvas, constructing three-dimensional imprints upon the two-dimensional picture plane. Susan Phillips, on the other hand, realizes the sculptural transformation of the sense of hearing. In Susan, Barbara, Joan, and Sarah, the separation of singing voices and silent images forms a time-space dialogue; in Vernebelt, the breath and water mist become a topography of life's transience; and in Seven Tears, the vibration of a wine glass recreates the melody of the Renaissance. The installation Sound Mirrors, newly created for the exhibition, uses parabolic aluminum panels to reflect audio tracks, allowing the audience's body to participate in the spatial construction of sound.

在本次展览中，两位艺术家的创作在物质边界也进行了共振：林天苗《大理石工具》的汉白玉冷光，和苏珊·菲利普斯《破碎的合奏》的管风琴韵律，共演了生命和生活痕迹的流转；《七滴眼泪》的声场呼应了《聚焦》对于人物肖像的重塑。展览解构了单一叙事的权威，赋予“画外存在”以永恒形式——未被记录的私语、未被书写的姓名、未被倾听的哭泣，通过织物的肌理与声音的能量获得纪念碑式的永恒。

In this exhibition, the two artists' creations resonate at the boundary of materiality: the cool gleam of white marble in Lin Tianmiao's Marble Sculptures and the organ rhythm of Susan Phillips' Broken Ensemble coexist in the flow of life and traces of life, while the soundscape of Seven Tears echoes the reimagining of the human figure in Focus. The exhibition deconstructs the authority of a singular narrative. It gives timeless form to "extra-pictorial presence" - unrecorded whispers, unwritten names, unheard cries, monumental eternity through the fabric's texture and sound energy.

林天苗的丝线是凝固的声轨，苏珊·菲利普斯的声波是流动的雕塑。当观众穿行于展厅，垂落或铺陈于地面的纤维网络与空气中漫射的声纹共同构建感知的迷宫。在展览空间中，目光可聆听丝线的震颤，耳膜亦能捕捉频率的纹理。那些似乎消逝的感知，从未真正缺席；那些未被言说的语句，终将以物质之名发出回响

Lin Tianmiao's silk threads are solidified soundtracks, and Susan Phillips' sound waves are flowing sculptures. As the viewer walks through the exhibition space, the fiber networks cascading or spreading across the floor and the sound patterns diffused in the air jointly construct a maze of perception. Within this space, eyes can listen to the vibration of threads, while eardrums capture the texture of frequencies. Perceptions seemingly vanished never truly abscond; unspoken utterances shall ultimately resonate in the name of material form.

艺术家介绍 林天苗

1961 年出生于太原。目前在北京生活、工作。1984 年在首都师范大学美术系学习；1988 年赴美；1989 年就读于纽约艺术生联盟学院，此后在纽约以设计师身份工作近7 年。1995 年从纽约回国，在这一阶段，林天苗成为首批获得国际关注和认可的中国女性艺术家之一。

90 年代，“公寓艺术”一度在北京和上海蔚然成风，林天苗在这一阶段的实践中获得了大量经验。1998 年，林天苗和王功新共同创建“北京藏酷新媒体艺术空间”。2012 年，纽约亚洲协会美术馆举办了《林天苗：缠了，再剪开》首次美国大型美术馆个展。2018年，上海外滩美术馆举办了大型个展《体统》。2020年，受邀参与泉州永宁古城大型文化项目。

林天苗的作品曾在各大国际展览和重要艺术机构展出，纽约古根海姆博物馆（2017）、濑户内三年展（2016）、旧金山MoMA（2008）、纽约布鲁克林美术馆（2007）、纽约MoMA（2007）、新加坡泰勒版画研究院（2007）、柏林世界文化宫（2005）、光州双年展（2002、2004）、越后妻有三年展（2003）、上海双年展（2002）、爱尔兰双年展（2002）、伦敦当代艺术研究院（1999）、澳大利亚国立美术馆（2001）、伊斯坦布尔双年展（1997）等等。

Lin Tianmiao (b. 1961 in Taiyuan, China) currently lives and works in Beijing, China. In 1984, Lin studied in the fine art department of Capital Normal University, Beijing, before moving to the US in 1988. After graduating from the Art Students League in New York in 1989, she worked as a designer in New York for nearly seven years. In 1995, Lin returned to China from New York and she quickly became regarded as one of the first Chinese female artists to gain international recognition.

During the 1990s, she participated in the nascent “apartment art” phenomenon that was emerging in Beijing and Shanghai. In 1998, Lin and Wang Gongxin created the Loft Media Center. In 2012, the Asia Society Museum in New York presented Bound Unbound, the artist’s first major solo museum exhibition in the US. In 2018, Rockbund Art Museum presented SYSTEMS, a large-scale solo show in Shanghai, China. In 2020, Lin was invited to participate in the large scale cultural project in Yongning Ancient Town in Quanzhou.

She has exhibited in major exhibitions such as the Guggenheim Museum, New York (2017); Setouchi Triennale, Takamatsu (2016); San Francisco Museum of Modern Art, San Francisco (2008); Brooklyn Museum, New York (2007); MOMA, New York (2007); Singapore Tyler Print Institute, Singapore (2007); Haus der Kulturen der Welt, Berlin (2005); Gwangju Biennale, Gwangju (2002, 2004); Shanghai Biennale, Shanghai (2002); Ireland Biennale, Limerick City (2002); ICA Institute of Contemporary Art, London (1999); National Gallery of Australia, Sydney (2001); and Istanbul Biennale, Istanbul (1997).

艺术家介绍 Susan Philipsz

苏珊·菲利普斯（Susan Philipsz），1965年生于英国格拉斯哥，现居德国柏林。创作聚焦声音的空间特性及其与建筑的互动关系，探索声音在情感与心理层面的影响力。通过公共空间的声音装置，实践如何利用声音媒介改变个体意识状态，激发听众在特定时空中的自我感知转变。作品致力于重构环境、声音与知觉三者间的动态关联。

Susan Philipsz (b. 1965, Glasgow, UK; lives and works in Berlin, Germany). The practice investigates the spatial properties of sound and its relationship with architecture, with particular focus on sound's emotional and psychological dimensions. The work employs sound as a medium in public spaces to heighten audience awareness and temporarily alter self-perception within specific spatial and temporal contexts. Through sonic installations, the practice examines how acoustic interventions can transform individual consciousness and reconfigure the dynamic interplay between environment, sound, and perception.

About Yi Museum 易美术馆

易美术馆致力于专业的艺术展览、研究、收藏以及公共文化教育事业的传播。⽴⾜本⼟优质的艺术底蕴，⽤⾃身的能量进⼀步推动当代艺术的创造性和影响力。以全球性的视野呈现视觉艺术的多元性，进⼀步挖掘出新青年当代艺术独特的⽣命力，展现中国当代艺术的辉煌成就和当前世界艺术的新鲜活力，旨在打造杭州独⼀⽆⼆的国际艺术交流中⼼和比肩世界水准的艺术平台。

Yi Museum is committed to art exhibitions, research work, collecting, and the promotion of publiceducation. At the same time, we present the nuanced diversities found in art from a global perspective,further exploring the vitality of potential contemporary art. We aims to show the brilliant achievements of Chinese contemporary art alongside the new perspective that brings to the world. Our endeavors have made us into an exclusive center for international art exchange in Hangzhou and a world-class art platform.