那特画廊深圳空间将于2026年8月28日特别呈现艺术家奥尔加·谢布利基娜（Olga Shcheblykina）与许嘉维的双个展「容器作为修辞」（Vessel as Rhetoric），由甘挺策展，展期持续至10月20日。
本次展览以“容器”这一原型结构及女性主义技术与方法，开启两位跨文化语境的女性艺术家关于物、情感、历史、身体与生成空间等内容的对话。
两位艺术家同时反复地回到与“容器”有关的物、形式和视觉元素，许嘉维以水墨重复描绘水晶杯、盔甲、银盘等欧洲古典器物/容器，在吸收、渗化的东方媒介中，让物从日常秩序中抽离，成为情感与记忆、历史与文化的载体；奥尔加·谢布利基娜（Olga Shcheblykina）则直接以“Vessel（容器）”命名大部分作品，以织物、颜料与软性结构创造无边界、不稳定的生成空间，颠覆了容器的物之形态；奥尔加亦在创作中以“Sticks（棒/棍）”作为延伸性与连接性的技术存在，以异质性的张力与“容器”共同构成空间结构。
通过物象的容器、语词和隐喻的容器、形式结构的容器，两位艺术家把物质与文化，情感与生命，绘画、空间与身体经验，以及对文化结构的性别反思连在了一起。
← EN
L ART Gallery (Shenzhen) is pleased to present Vessel as Rhetoric, a dual exhibition featuring artists Xu Jiawei and Olga Shcheblykina, curated by Gan Ting. On view from 28 August through 20 October 2026, the exhibition takes the archetypal structure of the “vessel” and feminist technologies and methodologies as its point of departure, opening a dialogue between two female artists from different cultural contexts around themes of object, emotion, history, body, and generative space.
Both artists repeatedly return to objects, forms, and visual motifs associated with the “vessel.” Xu Jiawei renders classical European vessels and objects—crystal goblets, armour, silver platters—through the medium of ink and wash. In the absorbing and permeating qualities of this Eastern medium, objects are extracted from their everyday order and transformed into carriers of emotion, memory, history, and culture. Olga Shcheblykina, meanwhile, directly titles many of her works Vessel. Using fabric, pigment, and soft structures, she creates boundless, unstable generative spaces that subvert the material form of the vessel. In her practice, she also summons “sticks” as a technological presence of extension and connection, constructing spatial structures through heterogeneous tension in concert with the “vessel.”
Through physical vessels, vessels of language and metaphor, and vessels of formal structure, the two artists interlink matter and culture, emotion and life, painting, space and bodily experience, alongside gendered reflections on cultural structures.
「容器作为修辞」:
奥尔加·谢布利基娜&许嘉维双个展
Vessel as Rhetoric
Dual Exhibition of
Olga Shcheblykina and Xu Jiawei
学术主持 Academic Host
吕澎 Lü Peng
策展⼈ Curator
甘挺 Gan Ting
艺术家 Artists
奥尔加·谢布利基娜 Olga Shcheblykina
许嘉维 Xu Jiawei
展期 Duration
2026.08.28-2026.10.20
地址 Address
深圳市福田区福中一路2009号深圳市当代艺术与城市规划馆二层L230，那特画廊
L Art Gallery, L230, 2nd Floor, Shenzhen Museum of Contemporary Art and Urban Planning, No. 2009 Fuzhong 1st Road, Futian District, Shenzhen, China
容器作为修辞
Vessel as Rhetoric
甘挺/文
By Gan Ting
人只要思考一下自己的位置，就意识到我们一直处在容器中。它是一切的原初意象，它包含了宇宙的整体图景，生命的起源，技术文明开端的另一种叙事，以及人之命运内外翻转的辩证统一。刺破和容纳，有着彻底的互斥性，但容器允许这种解体发生在自身之内。
科幻作家乌苏拉·勒古恩（Ursula K. Le Guin）在她的《小说的囊袋理论》（The Carrier Bag Theory of Fiction）一文中提出我们的传统文化叙事围绕“英雄和长矛”展开——一个勇猛的主人公带着他的尖利武器刺穿并猎杀了一头泰坦般的巨兽——英雄主义的、征服自然的、快速线性突破的，这个动作剧被阐释为社会和文化的起源，文明开端于 “击打、捅刺、贯穿又杀戮的人类”。
她略带厌恶地拒绝了这个狂热故事，并援引了伊丽莎白·费舍尔（Elizabeth Fisher）在《女性创造》一书的著名论述——最早的文化装置（cultural device）是接受者（recipient）；最初的文化发明是用来盛装与收集的某种 “容器”。因此，勒古恩所倡导的生命故事是 “妇人与袋子/容器”——采集野果、触摸自然，循环与沉淀。“容器”显然是区别于“长矛”的另一种技术，一种长期被女性劳动经验承载的技术，它包裹和容纳，并互文为女性的具身特征——子宫、乳房、双手和怀抱——在女性的身体容器内不断发生着孕育、汇聚和守护，转化、支撑和新生。
在这种语境下，“容器”需要从历史被动的阴影中显现，需要在词语、图像以及女性的生命经验中被强化，绽放关于它的联想，直至它作为一种深刻的、有利的原型结构被重新认识。
以 容 器 作 为 修 辞 ， 是 许 嘉 维 和 奥 尔 加 · 谢 布 利 基 娜 （ Olga Shcheblykina）艺术创作的一个交汇处。直观来说，许嘉维以水墨媒介不厌其烦地重复描绘了欧洲古典的大量器物/容器：水晶杯、酒瓶，盛有甜点的银盘，华丽的水果托盘，包裹身体的盔甲、等待承载的空椅，它们绚丽、光亮、脆弱，清晰的悬浮在一片设色的虚空中；奥尔加·谢布利基娜（Olga Shcheblykina）则直接以 “Vessel（容器）”命名其大部分作品，那些在她女性身份与织物之间形成的亲密关系，以交替的抽象笔触和色彩、软性的缝纫物构造出无所边界的、实体凸显的绘画、装置与雕塑。她们同时反复地回到某种与“容器”有关的物、形式和视觉元素。“容器”在重复带来的强化中转化为一种“修辞”， 在这个机制中，物象的容器、语词和隐喻的容器、形式结构的容器把物质与文化，情感与生命，绘画、空间与身体经验，以及对文化结构的性别反思连在了一起。
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If we simply reflect on our position, we realize that we have always existed within a vessel. It is the primordial archetype of all things, containing the total picture of the cosmos, the origin of life, an alternative narrative for the dawn of technological civilization, and the dialectical unity of human destiny turning inside out. Piercing and containing possess a fundamental mutual exclusivity, yet the vessel uniquely allows such dissolution to transpire within itself.
Science fiction writer Ursula K. Le Guin proposes in The Carrier Bag Theory of Fiction that our traditional cultural narrative revolves around “the hero and the spear.” In this narrative, a valiant protagonist carries his sharp weapon, and he pierces and hunts a titanic beast. This action-packed drama—heroic, nature- conquering, and rapidly linear—is interpreted as the very origin of society and culture: civilization inaugurated by "the men who hit, spear, pierce, and kill." Rebuffing this frenzied narrative with a touch of disgust, she cited Elizabeth Fisher’s famous thesis in Woman's Creation: the earliest cultural device was a recipient, and the first cultural invention was a certain "container" designed to hold and gather. Therefore, the life narrative Le Guin advocates is "the woman and the bag/vessel"—a story of gathering wild fruits and touching nature, embodying continuous circulation and precipitation. The “vessel” is manifestly a technology distinct from the “spear"—one long borne by women’s labor experience. Enfolding and accommodating, it interweaves intertextually with female embodied features—the womb, breasts, hands, and embrace—where gestation, gathering, protection, transformation, support, and rebirth continuously unfold within the female bodily vessel. In this context, the “vessel” needs to emerge from the passive shadows of history; it must be reinforced through words, images, and women's lived experiences, unleashing rich associations until it is re-recognised as a profound and vital archetypal structure.
Employing the "vessel as rhetoric" serves as a conceptual locus where the artistic practices of Xu Jiawei and Olga Shcheblykina intersect. On a direct level, Xu Jiawei tirelessly renders classical European objects and vessels through the medium of Shuimo (Chinese ink): crystal goblets, wine bottles, silver platters holding desserts, ornate fruit trays, armour enveloping the body, and vacant chairs awaiting occupancy. Splendid, luminous, yet fragile, they hover with crisp clarity within a color-washed void. Olga Shcheblykina, meanwhile, directly titles many of her works Vessel. The intimate bond she establishes between her female identity and textiles manifests as alternating abstract brushstrokes, hues, and soft sewn structures, giving rise to boundless, tangibly protruding paintings, installations, and sculptures. Both artists repeatedly return to objects, forms, and visual motifs associated with the concept of the "vessel." Reinforced through repetition, the "vessel" transforms into rhetoric—a mechanism wherein physical vessels, metaphorical vessels of language, and structural vessels of form interlink matter and culture, emotion and life, painting, space, and bodily experience, alongside gendered reflections on cultural structures.
▲ 排列星群 ｜Aligning the Constellations，许嘉维 Xu Jiawei，纸本设色 湿裱法裱于木板 Ink and color on paper, mounted on wooden board using wet mounting technique, 120 x 120cm, 2023
▲ 酒神的悔意 ｜Remorse of Dionysus，许嘉维 Xu Jiawei，纸本设色 湿裱法裱于木板 Ink and color on paper, mounted on wooden board using wet mounting technique, 120 x 120cm, 2025
许嘉维：作为情感与记忆、物与历史的容器
“局部和物”的热潮席卷着当代年轻艺术家的画布。
大地、天空、 宏大叙事，这些曾经锻造上一代人的历史全景已然消隐。皮鞋、手表、旧家具；肩头、膝盖、 盥洗池刚刚好安放疲软的当代灵魂，如果还有思想，则尽管在这些 “局部和物”上展现某种庄严。
许嘉维显然是 “既然我们已经无法把握全貌，就只能确证微观的、局部的、触觉可达的物质存在”中的一员，而她的超越之处来自将“物”引向 “容器”的修辞，包含其重复的视觉形式和内容所牵引的意义，以及其对水墨媒介所能承载之物的思考和运用。
我们当然可以在许嘉维精细描绘的闪亮、堆叠的水晶灯、酒杯、果盘和天鹅绒椅中进行一种阶级生活的想象，或者体验消费主义与物质泛滥引起的一种 “拜物教”式的又沉溺又厌恶的复杂欲望，毕竟在《轮盘游戏》和《但丁厨房》等作品中，她以铁钩和锁链悬挂大块生肉既新鲜又可怖的触觉直接压迫至我们面前。但就她的私人叙事而言，这些她反复回到的器物/容器，首先是一种充满生命记忆、情感溢出的载体。
“我对人的情感似乎寄托在物上。小时候我的爸爸在菲律宾工作，我很少见到他。 每次要见到他，他寄回来的物总是比人先到。”——在早期创作的“记忆系列”中，许嘉维挪用和改造了很多家庭旧照，模模糊糊的人物群像，生日宴、游乐场，应当欢乐，但画面如同被火烧过一般恍惚而黯然。 相比之下，她对物件的描绘光亮、 确定而清晰，她一贯处理的家庭、情感与记忆的主题，逐渐都被容纳在对物的表述之中。
从早期画过的巨型中式坐钟，到她执着描绘的欧式物件，来自于许嘉维流转的生命记忆，也承载着她关于 “物是历史与文明化石”的体察和思考。
许嘉维出生在香港，童年时期成长于泉州，后在杭州求学九年。晃动、闪烁的物和景观在她眼前变化和杂糅，编织的中国结和西洋陶瓷小雕像同时是她对童年礼物的回想。
当穿行在泉州的家中工厂，小小的她如何观看和想象那些等待包装和运往海外的各式物件——她说，其实你不确知一个物件是东方的还是西方的，是新的还是旧的，它有可能是殖民时代从西方流转到东方的，也有可能是全球化时代东方制造运到西方的。
器物/容器是历史的隐喻，也是历史的一个辩证空间，至少在许嘉维的生命经验中是如此，殖民史、全球贸易、离散与跨文化记忆弥散在她的生命经验中，也被统装在她所绘之物中。
在许嘉维的画面形式中还透露了一点 ，对器物/容器的描绘亦是一种“物的转向”的修辞，物从使用功能和日常秩序中被抽离，而只显示了其自身的物质性与存在形态。排列如星群的水晶杯、玻璃彩蛋、水晶吊灯、中世纪盔甲悬浮在一片水墨晕染而成的虚空之中，没有地平线、桌面或天花板边缘，没有生活场景，也没有光源，只有金属、织物、石头和透亮之物本身内生的幽微星芒之光，这似乎构成了一种接近现象学观看的悬置，在物象秩序和水墨流动的张力交界之地，物自内部显影。
而水墨作为本体媒介，它流动、渗化、吸收、呼吸，如此完美地呼应了一种女性主义的 “容器”属性：边界的开放、内部与外部的中介、生灭的流转转化。
许嘉维以水墨画西方之物，达成了一种反转的“中国凝视”，也开放了一种技术场域——以一种非控制性、主张容纳空无的东方技术，巧妙地传达了中国关于 “道”与“器”的关系的观念。
于是，在许嘉维任性的奇招中，被细致、反复描绘的 “容器”不再是一个无动于衷的物象，而成为一种意义的修辞——在水墨渗漏与物的显影之间，生命、感知与文化位置不断被重新生成，她视野中的图景变动不居，在女性和东方的双重观看的漫游中，轻灵与沉猛是她采集袋中离散又连贯的两枚果子。
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Xu Jiawei: The Vessel of Emotion and Memory, Objects and History
The trend of depicting "the partial and objects" has swept across the canvases of young contemporary artists. The Earth, the sky, and grand narratives—the historical panoramas that forged previous generations—have now receded. A pair of leather shoes, a watch-bearing wrist, a worn-out sofa, a person’s shoulder and knee, a bathroom sink viewed from an intimate distance—these suffice to cradle the weary contemporary soul. If there are some serious thoughts, it manifests its solemnity precisely through these "partial and objects." Xu Jiawei clearly belongs to the cohort believing that "since we can no longer grasp the total picture, we can only confirm micro, partial, and tactilized material existences." Yet, her breakthrough stems from elevating the "object" into a rhetoric of the "vessel," encompassing the meanings drawn by its repetitive visual forms and content, as well as her profound exploration and deployment of what the contemporary Shuimo medium can bear.
We can, of course, project imaginations of class lifestyles onto Xu Jiawei’s meticulously rendered, gleaming, and stacked chandeliers, wine glasses, fruit plates, and velvet chairs. Or we might experience a complex "fetishistic" desire— simultaneously intoxicating and repulsive—sparked by consumerism and material saturation. After all, in works such as Roulette Game and Dante's Kitchen, she suspends large cuts of raw meat from iron hooks and chains, pressing their fresh yet terrifying tactility directly before us. However, within her private narrative, these objects/vessels to which she repeatedly returns serve primarily as carriers brimming with life memories and overflowing with emotion.
"My emotions toward people seem to be projected onto objects. When I was a child, my father worked in the Philippines, and I rarely saw him. Every time before he returned, the objects he sent back always arrived before he did."
In her early Memory series, Xu Jiawei appropriated and transformed numerous old family photographs. Blurrings of group portraits, birthday parties, and amusement parks—scenes that ought to be joyous—appear dazed and dim, as if scorched by fire. By contrast, her depictions of objects are luminous, definite, and clear. The themes of family, emotion, and memory that she consistently addresses are gradually accommodated within her articulation of objects.
From the giant Chinese standing clock of Xu Jiawei's early period to the European objects she now obsessively depicts, these motifs stem from her shifting life memories and carry her reflection that "objects are fossils of history and civilization." Born in Hong Kong, Xu spent her childhood in Quanzhou and later studied in Hangzhou for nine years. Flickering and shifting objects and landscapes transformed and intertwined before her eyes; woven Chinese knots and Western ceramic figurines simultaneously form her recollections of childhood gifts. As a child walking through her family's factory in Quanzhou, how did she view the items awaiting packaging for shipment overseas? She notes that one never truly knows if an object is Eastern or Western, new or old. It might have traveled West to East in colonial times, or East to West under globalization. The object or vessel is both a historical metaphor and a dialectical space—at least in Xu Jiawei's lived experience. Colonial history, global trade, diaspora, and cross-cultural memory diffuse through her life, all housed within the very objects she paints.
Furthermore, Xu’s visual form reveals another dimension: her depiction of objects/vessels operates as a rhetoric of "the material turn." Objects are stripped of their utilitarian functions and daily order, displaying purely their intrinsic materiality and
existential state. Crystal goblets, colorful glass eggs, crystal chandeliers, and medieval armor cluster like constellations, floating in a void woven from Shuimo —devoid of horizons, tabletops, or ceiling edges, stripped of domestic scenes or external light sources. Only the subtle, inner starlight emitted by metal, textile, stone, and translucent matter shines forth. This suggests a mode of viewing close to phenomenological suspension: at the threshold where the order of objects encounters the fluidity of Shuimo, revealing themselves from within.
As an ontological medium, Shuimo and Xuan paper flows, permeates, absorbs, and breathes, responding impeccably to the feminist "vessel" attribute: open boundaries, a mediator between interiority and exteriority, and the transmutation of generation and decay. By depicting Western objects through Shuimo, Xu achieves an inverted "Chinese gaze," while opening a technological field that employs a non-controlling, void- accommodating Eastern technique to subtly convey traditional Chinese philosophy regarding the relationship between Dao (the Way) and Qi (the Vessel/Instrument). Thus, through Xu Jiawei’s whimsical masterstroke, the "vessel" that she meticulously and repeatedly depicts is no longer an indifferent object. Instead, it becomes a rhetoric of meaning. Between the seepage of the Shuimo and the manifestation of objects, life, perception, and cultural position continuously regenerate. The landscape in her vision remains in constant flux. As she wanders through a dual female and Eastern gaze, nimble lightness and heavy intensity become two discrete yet connected fruits in her gathering bag.
▲ 无题｜ Untitled，奥尔加·谢布利基娜 Olga Shcheblykina，布面油画 Oil on canvas, 120 x 155cm, 2026
奥尔加·谢布利基娜
Olga Shcheblykina：
作为结构、身体与生成空间的容器
相较许嘉维创作中隐约的“容器”修辞，在奥尔加·谢布利基娜（Olga Shcheblykina）的艺术系统中，“容器（vessel）”是一种更为自觉和明确的思想理论。
它并不显现为奥尔加画布上有所形制的器物图像，在被所有命名为“vessel（容器）”的作品中，它们是纯粹抽象的，没有外壳，没有等待被充盈的内部空间，只有一团色彩、笔触、画布、软织物的关系，它们是奥尔加对“容器”的第一个颠覆：对容器的去物化（De-objectification），且容器以不稳定的结构持续变化。
无论是绘画还是装置、雕塑，奥尔加的《容器》毫无终极形态，时而是画布上的流变色彩与织物纤维，时而是饱满歪凸的软性结构，仿佛内部物质随时在向外塌漏。与此相关，在我们的访谈中，她表示她感兴趣的是质疑结构和系统 ，而不是应用它们 ……
人类有组织现实、分类事物、建立类别和稳定结构的欲望，而她对完全掌控这一过程的不可能性感兴趣。 因此，奥尔加的“容器”拒绝成为一个被规训的物、一个闭合的系统，它松动、变形、吞吐、容纳， 在未完成的不稳定中成为一种不断具有生产力的形式。
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Olga Shcheblykina: The Vessel of Structure, Body, and Generative Space
While Xu Jiawei's art features a subtle "vessel" rhetoric, Olga Shcheblykina treats the "vessel" as a highly conscious and explicit ideological theory in her art system. It does not manifest on canvas as recognizable pictorial objects. In all works titled Vessel, the forms are purely abstract, devoid of any outer shell or interior space waiting to be filled. Instead, they present only a nexus of colors, brushstrokes, canvases, and soft textiles. These elements constitute Olga's first subversion of the "vessel": de-objectification. Furthermore, the vessel continuously transforms through unstable structures.
Whether in painting, installation, or sculpture, Olga's Vessels possess no ultimate, definitive form. At times, they appear as fluid colors and textile fibers across the canvas; at others, as plump, distorted, soft structures that seem on the verge of collapsing outward. Relatedly, she stated in our interview that she questions structures and systems, and she does not simply apply them. Humans strongly desire to organize reality, classify things, establish categories, and build stable structures. However, she finds profound interest in the impossibility of fully controlling this process. Consequently, Olga's "vessel" refuses to become a disciplined object or a closed system; it loosens, deforms, absorbs and accommodates, becoming a perpetually productive form through its unfinished instability.
▲ 棒｜ Sticks，奥尔加·谢布利基娜 Olga Shcheblykina，布面综合材料 Mixed media on canvas, 142 x 110cm, 2026
如果把“容器”作为一种女性技术和叙事，奥尔加（Olga Shcheblykina）撇除了非此即彼“二元对立”的思维，她在创作中，除了“容器（vessel）” , 也召回了“棍/棒（sticks）”作为一种延伸性、连接性和外部行动的技术存在。
各种五彩的棍/棒，或长或短，弯曲、柔性、相依，有的被画在画布上，有的是立体的织物被缝贴在画面中。棍两端的端口被明确勾画出来，在我看来更像管状物，内外贯通，也可以是某一种程度的“容器”。因此，显然“容器（vessel）”与“棍/棒（sticks）”在奥尔加这里不是一种代表女性/男性的二元结构，不是一种对抗性存在，而是一种异质性张力，它们共同构成空间结构。这种共存打破了纯粹的静止盛装，使 “容器”成为一个不断发生触碰、穿越、 伸展，包括冲突和解体的关系之地。
此次展览中最大的一件高宽 3 米的布面综合材料作品——《欲望机器》，是一件典型的奥尔加式 “抛弃一切形式，去拥抱纯粹的生命原力”的作品。
那些脱离了画布边缘、向外剧烈膨胀的彩布与织物，拒绝被收拢在秩序的框架内，浓烈的黑，鲜艳的红流淌、凝滞， 少许靛蓝和明黄鼓起、蜿蜒， 是一种真理的无垠涌现，也是一种持续的破裂和缝合。她所经历的历史、战争、迁徙、安宁，以及个体生命在某种宏大中微弱坚韧的震颤，似乎都在里面。
← EN
If the "vessel" represents a feminine technology and narrative, Olga Shcheblykina discards binary "either/or" thinking. Alongside the "vessel," her work also summons "sticks" as a technological presence of extension, connection, and external action. Various colorful sticks—long or short, curved, flexible and interdependent—appear throughout her work. She paints some sticks on the canvas, and she sews others onto the surface as three-dimensional textiles. She clearly outlines the ports at both ends of the sticks. In my view, they look more like tubular objects. Their interiors and exteriors connect thoroughly, so they can also act as "vessels" to a certain extent. Thus, "vessels" and "sticks" do not represent a gendered binary of female versus male, nor an adversarial opposition. Rather, they generate a heterogeneous tension that jointly constructs spatial structure. This coexistence breaks away from static containment, transforming the "vessel" into a relational site of touch, penetration, extension, conflict, and dissolution.
The largest work in this exhibition—a massive 3×3 meter mixed-media piece on canvas titled Desiring Machine— exemplifies Shcheblykina’s ethos of “abandoning all rigid form to embrace pure vital force." Fabrics and textiles burst dramatically beyond the edges of the canvas, resisting containment within orderly frameworks. Intense blacks and vivid reds flow and congeal, while subtle pops of indigo and bright yellow swell and meander. It presents a boundless emergence of truth, a continuous process of tearing and suturing. The histories, wars, migrations, and tranquility she has lived through, alongside the faint yet resilient tremors of individual life amid grandeur, all seem embedded within it.
▲ 容器 ｜Vessel，奥尔加·谢布利基娜 Olga Shcheblykina，综合材料 Mixed media, 90 x 90 x 90cm, 2025
当我想象她在这些隆起和平面中进行的身体动作，又联系到这个德勒兹式的作品标题，以及“容器（vessel）”与“棍/棒（sticks）”颇似有机体器官的意象，我们来到了这个部分：“身体化的容器 ”如何在变化的绘画空间中进行感知、生产与持续生成的。在德勒兹那里，身体并不是一个封闭的、有明确边界的实体， 而是一组不断变化的力量关系集合，它在与环境、材料、他者的接触中不断生成自身。
在奥尔加的创作中，织物的被选用是标注我们身体触觉感知的时刻，它作为我们身体的柔性边界，也长期与女性劳动、家庭空间和女性身体经验相联系。她将它们浆化，上色，缝贴在画布上，以“容器（vessel）”与“棍/棒（sticks）”的形式逻辑激活了它们更为形而上的意义。
如何把盛装之物的“容器”转化为生成空间，奥尔加把作为艺术家的身体和观看者的身体都组织起来。
当我们仰头看画布顶端的鼓包，绕过跃出画框之外的弯曲，伸手触摸和感受一块油亮之处的坚硬或柔软，艺术家已经用她的攀爬、拉伸和缝合， 以及作品的大小尺度、悬垂、隆起和外扩制造了她自己与我们的身体状态。这像一个游戏，一个觉知身体的游戏。 除了“容器（vessel）”与“棍/棒（sticks）”, 奥尔加描绘和构制了窗帘、蝴蝶结、衣裙和躺下的女性等，这些元素共同构成了一套围绕身体和身体边界展开的视觉内容。
在这织物、色彩与暗影的流变空间中，我们呼吸、停顿、移动，直到感受和欲望被卷入了这些直接指涉身体的鼓胀和外溢的彩色绵延之中，让新的关系、新的感知和新的身体经验不断重新翻涌。
← EN
As I imagine her bodily movements among these bulges and planes, while connecting them to this Deleuzian title and the organ-like imagery of the "vessel" and "sticks," we arrive at this section: how the "embodied vessel" perceives, produces, and continuously generates within a shifting pictorial space. For Deleuze, the body is not a closed entity with clear boundaries, but a dynamic assembly of shifting force relations that continuously becomes itself through contact with environment, materials, and others. In Olga’s work, the choice of textiles marks a moment that highlights our tactile bodily awareness. Functioning as a soft boundary of our bodies, textiles have long been intertwined with domestic spaces, women's labor, and female bodily experience. She starches, colors, and sews them onto the canvas, activating their metaphysical meanings through the formal logic of "vessels" and "sticks."
In transforming the "vessel" from a receptacle for holding objects into a generative space, Olga mobilizes both the body of the artist and that of the viewer. As we tilt our heads to gaze at the bulges at the top of the canvas, step around the curves extending beyond the frame, or reach out to sense the hardness or softness of an oiled passage, the artist has already dictated our bodily states through her own climbing, stretching, and stitching, as well as the work's scale, suspension, swelling, and outward expansion. It operates like a game—a game of somatic awakening. Beyond "vessels" and "sticks," Olga paints and constructs drapes, bows, dresses, and reclining female figures, establishing a visual lexicon centered around the body and its boundaries. Within this fluid space of textiles, colors, and shadows, we breathe, pause, and move, until our senses and desires are swept into these colorful, expanding, and overflowing continuities that directly address the body, continually re-awakening new relationships, new perceptions, and new bodily experiences.
艺术家
奥尔加·谢布利基娜
Olga Shcheblykina
奥尔加·谢布利基娜Olga Shcheblykina出生于前苏联，生活与工作于维也纳，毕业于林茨艺术大学（教授：Ursula Hübner, Anne Speier），兼具平面设计与纯艺术训练背景。
奥尔加的创作游走于绘画、雕塑与装置之间。她将情感张力转化为物质存在——以织物、颜料、金属衣架为材料，制造出在空间中生长、坍塌或抵抗框架的混合体积形态，探索和揭示个人体验与更广阔社会语境的互动关系。
其作品近年在欧洲多地与中国（成都、上海、重庆）展出，并被莱恩托斯艺术博物馆、上奥地利储蓄银行及众多私人收藏机构珍藏。
精选展览：
“容器作为修辞”，那特画廊，深圳，中国（2026）；成都A4美术馆，成都，中国（2026）；“我想留下的东西 ”，维也纳国际文化科学研究中心阿卡德展厅，维也纳，奥地利（2026）；“介入 ”，鲁贝尔画廊，维也纳，奥地利（2025）；“视点”，地拉那，阿尔巴尼亚（2025）；“代码与如何执行”，奥地利视觉艺术家协会，维也纳，奥地利（2025）；“在表面上”，图尔恩艺术工坊，图尔恩，奥地利（2025）；“接触地带”，Artcare艺术中心，维也纳，奥地利（2025）；“让它保持未完成，它能呼吸得更好”，WAF当代艺术空间，维也纳，奥地利（2025）；“SCHAU*”，ENT协会画廊，海格，奥地利（2025）；“瑞器”，重庆，中国（2025）；“今日维也纳”，海派艺术馆，上海，中国（2025）；“洪德斯图姆-北碚”，器空间，重庆，中国（2025）；“图底关系，而你将其转化为”，萨尔扎姆特艺术工作室，林茨，奥地利（2024）；“一切 / 依旧 / 如我从未离开”，Ve.sch艺术空间，维也纳，奥地利（2024）；“无限大之物，无限小之物 ”，凯尼施，奥地利（2024）；“TILO”，沃尔克斯多夫城堡，温维特尔地区沃尔克斯多夫，奥地利（2024）；“艺术角落”，老工务大院文化空间，奥滕斯海姆，奥地利（2024）；“再见绘画”，鲁贝尔画廊，维也纳，奥地利（2024）；“夏季展览”，林茨城堡博物馆，林茨，奥地利（2024）；“BestOFF 豪华避暑版 ”，格蒙登，奥地利（2024）；“月球的明亮面 2 ”，安纳鲁马画廊，那不勒斯，意大利（2024）；“悼念工作 ”，上奥地利州劳工协会，林茨，奥地利（2023）；“野兔可以被圈养”，Ausenstelle 5艺术空间，维也纳，奥地利（2023）；“美术室”，格拉茨，奥地利（2023）；“女性凝视 ”，布伦霍夫画廊，林茨，奥地利（2023）；“释义”，兰托斯艺术博物馆，林茨，奥地利（2023）；“石上艺术，纸上艺术 ”，上奥地利州储蓄银行，林茨，奥地利（2023）；“BestOFF”，三月画廊，林茨，奥地利（2023）；“对话 ”，44er画廊，莱翁丁，奥地利（2023）；“维斯帕赫城堡的客人”，维斯帕赫城堡画廊，哈莱因，奥地利（2023）；“BestOFF”，Splace画廊，林茨，奥地利（2022）；“失物招领 ”，林茨WHA画廊，林茨，奥地利（2022）；“当我哭得极丑时请别介意 ”，The Eye Altering空间，塞萨洛尼基，希腊（2022）
公共收藏 / 机构收藏 ：
兰托斯艺术博物馆，林茨，奥地利
上奥地利州储蓄银行，林茨，奥地利
Olga Shcheblykina was born in the USSR and now lives and works in Vienna. She graduated from Linz University of Arts (under professors Ursula Hübner and Anne Speier), with a background spanning both graphic design and fine art.
Olga's practice moves between painting, sculpture, and installation. She translates emotional tension into material presence—using fabric, pigment, and metal clothes hangers to create hybrid volumetric forms that grow, collapse, or resist their frames within space, exploring and revealing the interplay between individual experience and broader social context.
Her works have been exhibited in recent years across Europe and in China and held in the collections of LENTOS Kunstmuseum, Sparkasse Oberösterreich, and numerous private collectors.
Selected Exhibitions
Vessel as Rhetoric, L Art Gallery, Shenzhen, China (2026); A4 museum, Chengdu, China (2026); Things I Tried to Keep, ifk. Vienna, Austria (2026); Intervention, Galerie Ruberl, Vienna, Austria (2025); Point of view, Tirana, Albania (2025); Codes and How to Conduct, IG Bildende Kunst, Vienna, Austria (2025); Auf der Oberfläche, Kunstwerkstatt, Tulln, Austria (2025); Contact zones, Artcare, Vienna, Austria (2025); Leave it unfinished, it breathes better, WAF, Vienna, Austria (2025); SCHAU*, Verein.ENT, Haag, Austria (2025); RICHAUS, Chongqing, China (2025); Vienna Today, The Hai Museum of Art, Shanghai, China (2025);Hundsturm BeiBei, Organhaus, Chongqing, China (2025); Figure ground, and you turn it into, Salzamt, Linz, Austria (2024); Everything / was still as / I had never left, Ve.sch., Vienna, Austria (2024); All things infinitely large, all things infinitely small, Kainisch, Austria (2024); TILO, Schloss Wolkersdorf, Wolkersdorf im Weinviertel, Austria (2024);Kunst:corner, Alter Bauhof, Ottensheim, Austria (2024); GOODBYE PAINTINGS, Galerie Ruberl, Vienna, Austria (2024); Sommerausstellung, Schlossmuseum, Linz, Austria (2024); BestOFF Sommerfrische Delux, Gmunden, Austria (2024); The Bright Side of the Moon 2, Annarumma gallery, Naples, Italy (2024); Mourning work, Upper Austrian Chamber of Labour, Linz, Austria (2023); Wild rabbits can be kept in captivity, Ausenstelle 5, Vienna, Austria (2023);Room of fine arts, Graz, Austria (2023); The Female Gaze, Brunnhofer gallery, Linz, Austria (2023); Paraphrases, Lentos Art Museum, Linz, Austria (2023); Art in stone, art on paper, Sparkasse Oberösterreich, Linz, Austria (2023); BestOFF, Maerz gallery, Linz, Austria (2023); Dialogue, 44er Gallery, Leonding, Austria (2023); Guest at Wiespach Castle, Gallery Schloss Wiespach, Hallein, Austria (2023); BestOFF, Splace gallery, Linz, Austria (2022); Lost and Found, WHA Gallery Linz, Austria (2022); Please don't mind me while I ugly cry, The Eye Altering, Thessaloniki, Greece (2022)
Collections
LENTOS Kunstmuseum, Linz, Austria
Sparkasse Oberösterreich, Linz, Austria
许嘉维
Lim Ka Ye
1999年生于香港，现工作生活于香港与杭州。2021年获中国美术学院国画系学士学位，2024年获同校人物画研究工作室硕士学位。
许嘉维的创作以水墨为媒介，宣纸湿裱于木板。她的方法论核心是"整理与重组"——从现实世界中搜集物件（吊灯、盔甲、水晶器皿、动物标本），将它们从原有语境中剥离，重新编排为高度饱和的图像场域，寻找象征界的物质性。
近年展览遍及中国、韩国、日本、美国及香港，作品在多个艺博会亮相，已形成鲜明的个人语言。
个展：
“容器作为修辞”，那特画廊，深圳，中国（2026）；“锋利回廊”，马丁戈雅空间，杭州，中国（2026）；“盛宴之后”，逸空间，南京，中国（2025）
群展：
“凝象·观心”，草木间画廊， 运城，中国（2026）；“时间的单位”，眼镜蛇画廊，上海，中国（2025）；“NEON DUST”，GR Gallery， 纽约，美国（2025）；“生活在「蝴蝶」时间””又生空间，北京，中国（2025）；“当日常成为形式”，经艺联xSAILING SPACE， 香港，中国（2025）；“彼案的达特穆尔The Blooming Dartemoor”，Lian Gallery，杭州，中国（2025）；“她们此在”海碧台艺术中心， 秦皇岛，中国（2025）；“界限上的低语者”，逸空间， 南京，中国（2024）；“无法分割的存在之地”，CHOWspace， 上海，中国（2024）；“An Act Of Choice”，Duarte Sequeira，首尔， 韩国（2023）；“月光下的雾霭”逸空间， 南京，中国（2023）；“未知古典”，离画廊 X DG ART SPACE，上海，中国（2023）“琳琅满目”，清影艺术空间，杭州，中国（2023）；“图绘的态度”，赛麟空间，上海，中国（2022）；“骄阳之下A place in the sun”，小杉画廊， 北京，中国（2022）；“幕后戏”，伯年艺术空间，北京，中国（2022）；“Moment to Last”， Hillside Forum F， 代官山，日本（2022）；当代东京x银座茑屋展览，⽇本银座，日本（2022）；“蝉鸣”MeistayX Hrd artist label，台北，中国（2022）
艺博会：
「上海021当代艺术博览会」，上海（2025）；「艺术深圳」，逸空间，深圳（2024）；「上海021当代艺术博览会」，SAILING SPACE，上海（2023）；「上海冉起当代艺术博览会」，逸空间，上海（2023）；「北京当代艺术博览会——重聚」，离画廊，北京（2023）；「上海021当代艺术博览会」，离画廊，上海（2022）
Xu Jiawei (b. 1999, Hong Kong) lives and works between Hong Kong and Hangzhou. She received her BFA in Traditional Chinese Painting from the China Academy of Art in 2021, and her MFA from the Figure Painting Research Studio at the same institution in 2024.
Xu’s practice is grounded in ink on Xuan paper, wet-mounted onto wood panels. At the core of her methodology lies a process of sorting and recombination: she gathers objects from the material world—chandeliers, armour, crystal vessels, taxidermy animals—extracts them from their original contexts, and rearranges them into densely saturated pictorial fields, in pursuit of the materiality of the Symbolic.
Her work has been exhibited extensively across China, South Korea, Japan, the United States, and Hong Kong, and has appeared at numerous art fairs. Over the years, she has developed a distinctive and recognisable visual language.
Solo Exhibitions
Vessel as Rhetoric, L Art Gallery, Shenzhen, China (2026); Blade Corridor, Martin Goya Business, Hangzhou, China (2026); After the Feast, East Gallery, Nanjing, China (2025)
Group Exhibitions
Form&Mind, Caomujian Art Space, Yuncheng, China (2026); Units of Time, CoBrA Gallery, Shanghai, China (2025); Neon Dust, GR Gallery, New York, USA (2025); Living in the Time of Butterfly, Cycle Space, Beijing, China (2025); When Daily Life Becomes a Form, KingsArts x SAILING SPACE, Hong Kong, China (2025); The Blooming Dartmoor, Lian Gallery, Hangzhou, China (2025); Their Dasein, Haibitai Art Center, Qinhuangdao, China (2025); Whisper on the Boundary, East Gallery, Nanjing, China (2024); The Place of Indivisible Existence, CHOWspace, Shanghai, China (2024); An Act of Choice, Duarte Sequeira, Seoul, South Korea (2023); Mist Under Moonlight, East Gallery, Nanjing, China (2023); Unknown Classics, Li Gallery x DG ART SPACE, Shanghai, China (2023); lín láng mǎn mù, Inna Art Space, Hangzhou, China (2023); The Attitude of Drawing, Sailing Space, Shanghai, China (2022); A Place in the Sun, Xiaoshan Gallery, Beijing, China (2022); Sideshow After Midnight, Payne Y. Loh Art Space, Beijing, China (2022); Moment to Last, Hillside Forum F, Daikanyama, Japan (2022); Contemporary Tokyo x Ginza Tsutaya Exhibition, Ginza, Japan (2022); Cicada Song, MeistayX HRD Artist Label, Taipei, China (2022)
Art Fairs
ART021 Shanghai Contemporary Art Fair (2025); Art Shenzhen, East Gallery (2024); ART021 Shanghai Contemporary Art Fair, SAILING SPACE (2023); Shanghai Ranqi Contemporary Art Fair, East Gallery (2023); Beijing Contemporary Art Expo — Reunion, Li Gallery (2023); ART021 Shanghai Contemporary Art Fair, Li Gallery (2022)
策展人
甘挺
Gan Ting
策展人，艺术评论写作者。策展与艺术史、中国现当代文学双硕士学位，深圳、香港两地画廊、美术馆等艺术机构10年行业工作经验。现任职于那特画廊深圳空间。
Curator and art writer.Holder of dual Master’s degrees in Curating & Art History and Modern & Contemporary Chinese Literature, with 10 years of professional experience across galleries, art museums, and cultural institutions in Shenzhen and Hong Kong. Currently serving at L-Art Gallery (Shenzhen).