鄭天依 ZHENG Tianyi

鄭天依，1995年生於中國湖北，後隨父母遷居北京、廣州，中學時來到香港。2018年畢業於香港中文大學藝術系，現於荷蘭Frank Mohr Institute就讀媒體藝術碩士。她的創作透過文字、聲音、表演、裝置和錄像等不同媒介呈現，作品關注城市空間和身份議題，科技與人文的關係也是她思考的主題之一。曾獲獎包括「信和數碼媒體獎」（2017）和「莫氏立體創作補助金」（2018），亦是「野生藝術節」發起人之一。

Tianyi Zheng, Tin-e (1995, Hubei) is a visual artist based in Hong Kong and the Netherlands, whose current interests include the interface and narration between the issue of space, place, and identity of people, as well as urbanization and technologization displayed in mixed media installations combining video, text, sound, and performance. She is currently doing an MFA in MadTech from Frank Mohr Institute and received a degree in Fine Art from the Chinese University of Hong Kong (CUHK). She has curated cultural events such as the Wild Art Festival in CUHK and Green Wave Art in Hong Kong.

鬼魂徘徊學

不是我選擇了它，而是它選擇了我

因為我創作使用的媒介種類太多，有時自己也不明白為何這一件是攝影，那一件是行為，在下一個又可能是裝置。當時看郝敬班的《正片之外》，被其中一句『不知道是我拋棄了這些素材還是它們拋棄了我』觸動，開始思考自己與這些「素材」的關係。大學畢業創作時我收集了大量的資料和物料，其中一項是在城市的街道和後巷揀磚，有時就只看着地面遊蕩在街頭，找到磚塊的時候，覺得反而是它們找到了我。可能我的創作其中一個重要的組成，就是物件/材料/素材和我的關係，如果它們才是創作的主體，可不可以將「我」變成只是一個載體？

最近我常去二手店，或是在二手買賣平台上流連，購買（有時候是免費拿到）很多燈具/家具/玩具/用具/工具，他們漸漸填滿我工作室的櫃子和桌子。有時他們隨意散落，可能掛在房間一角，或者擋住通道，偶爾會成為某件作品的一部分，展覽/展示結束之後他們又回到工作室，繼續睡在櫃子裡，或者攤在桌子上。與它們相處的過程，也就是我的創作過程。

念念不忘，必有迴響

我創作的起點很多時候是某一些揮之不去的影像或句子（例如歌詞），為了找到一個位置安放，而將他們物質化，作品因此成為這些念頭的居所。它們住下但並不安居，有時舊作會重新浮躁翻滾，再重新變成下一份作品的念頭。最近我也總是在更新網站，整理舊作品，發現有些元素老是常出現，我也會驚訝於自己原來被它們纏繞得如此之深。
我會借用雅克·德希達（Jacques Derrida）的鬼魂徘徊學（Hauntology）為標題。

「鬼魂徘徊學」指過去元素的回歸或持續存在，如同鬼魂徘徊。(Derrida, 1993)

2019年5月至9月，沒辦法進行創作，因為對社會狀況的失望，而且覺得藝術無用。而離開了香港之後，跟學校去威尼斯看展覽，慢慢才與創作和解。

Hauntology

I don’t choose it, it chooses me.

Because I use so many different mediums in my work, sometimes I don’t understand why one is photography, another is performance, and the next may be an installation. When I watched Hao Jingban’s Off Takes, I was touched by the line “I don’t know whether I have abandoned these footage or they have abandoned me” and started to think about my relationship with these ‘footage’. When I was working on my graduation project in university, I collected an enormous amount of information and materials, one of those was bricks that I picked from the streets and back alleys of the city. Sometimes I just stared at the ground and wandered on the streets, and when I found the bricks, I felt that they found me. Maybe this is one of the important components of my practice, that is, the relationship between the objects/materials and me. If they are the subject of creation, am ‘I’ a mere vessel?

If you can’t forget it, it will come back to you

My work often starts with some lingering image or sentence [e.g. a song lyric], and in order to find a place to put it, I materialise it, and the work becomes a home for these thoughts. Sometimes the old work re-floats and becomes an idea for the next artwork. I’ve been updating my website recently, reorganising my old works, and I discover that some of the elements keep appearing, and I’m surprised at how deeply I am entangled in them.

Lately I have been going to secondhand shops or lurking on online platforms, buying [sometimes for free] a lot of lamps/furniture/toys/utensils/tools that are gradually filling up my cabinets and tables in my studio. Sometimes they are scattered randomly, hanging in a corner of the room or blocking the passage, occasionally becoming part of a piece of artwork, and then after the exhibition/presentation they return to the studio and continue to sleep in the cupboard or spread out on the table. The process of living with them is also my creative process.

Hauntology (a portmanteau of haunting and ontology) is a concept referring to the return or persistence of elements from the past, as in the manner of a ghost. (Derrida, 1993)

Wikipedia: https://en.wikipedia.org/wiki/Hauntology

From May to September 2019, I was not able to make art because I was disappointed with the society and felt that art was useless. After leaving Hong Kong, I went to Venice with my school to see an exhibition, and gradually I found an answer for my creative practice.

無處巡遊 The Cruise to Nowhere (2020)

https://zhengtine.hotglue.me/?Rm-a5/

The Cruise to Nowhere is an online exhibition bringing together my recent works spanning different forms, materials, and thematic explorations that are reconstructed from physical installation into digital fragments. By introducing the idea of “The Spectre of the Future which Never Happened”, I want to turn the website into a Ghost ship with different rooms.

The Cruise to Nowhere is a constructed imaginative artifact space inspired by Derrida’s ghost theory and Italo Calvino’s book ‘The Castle of Crossed Destinies’. The site is conceived and turned into rooms for ghosts to return, that can be entered and can be read. It explores the relationship between text/image/space in net art and creates a vague reality in a maze / fragmented and the stream of consciousness.

半虛構日記 Fictional Logbook:

https://tinelog.blogspot.com

記錄了我從二零一九年秋天離開香港之後的瑣事（二零二零年封城期間寫成）

Something like a fake diary from 2019 autumn to 2020 spring. (I wrote it during the lockdown, 2020.04)

研究/參考地圖 Research/ reference Map:

https://zhengtine.hotglue.me/?Map

我的創作媒介比較寬泛，所以想製作一份地圖，將自己的作品和所參考的理論、喜歡的藝術家、影響很深的書和電影等等放在一起，從而梳理自己的創作模式和過程。

I work in a wide range of media, so I wanted to create a map of my work, the theories I refer to, artists I like, books and films I’ve been influenced by and so on, in order to sort out my creative patterns and process.

The Freeway to a New Planet from Tianyi Zheng on Vimeo.

她說她想要去一個很遙遠的星球 The Freeway to a New Planet
現成物，類比攝影，裝置，投影 Found objects, analog photography, installation, video projection
一組十件 A set of 10
2020

楔子：在這條高速上睡著了 Intro. Fall asleep on the freeway

無處巡遊 The Cruise to Nowhere
網站 Website
一組三十版網頁 A set of 30 webpages
2020

無處巡遊 The Cruise to Nowhere
網站 Website
一組三十版網頁 A set of 30 webpages
2020

無處巡遊 The Cruise to Nowhere
網站 Website
一組三十版網頁 A set of 30 webpages
2020

無處巡遊 The Cruise to Nowhere
網站 Website
一組三十版網頁 A set of 30 webpages
2020

一：座標未知的森林 1.Plastic forest

一：座標未知的森林 1.Plastic forest

一：座標未知的森林 1.Plastic forest

二：隨身攜帶的家（香港製造） 2.Carry-on home (made in HK)

二：隨身攜帶的家（香港製造） 2.Carry-on home (made in HK)

二：隨身攜帶的家（香港製造） 2.Carry-on home (made in HK)

二：隨身攜帶的家（香港製造） 2.Carry-on home (made in HK)

三：沙發尚有餘溫（有誰剛走） 3.Just left (still warm)

四：惡夢太空艙 4.Nightmare capsule

五：新月升起的時候這裡是新的星球 5.New moon on the new planet

六：翻新還在繼續 6.Endless renovation

七：一起看五分鐘的電視海 7.TV Sea

八：靜物在靜靜等待 8.Still life

九：出海的人尚未回家 9.Melting into a sea

2019-20 工作室 studio

2020-21 工作室 studio

無所事事 Nothing Exercise
裝置 Installation view

無所事事_練習一：拾磚 Nothing Exercise_1. Picking up bricks from the border
磚，類比攝影，燈箱，行為錄像 Bricks, analog photography, lightbox, performance video
尺寸可變 Size variable
10′ 56″
2020

無所事事_練習二：捕風 Nothing Exercise_2. Catch the wind with a mattress bag
行為錄像 Performance video
3’15”
2020

無所事事_練習三：築堤 Nothing Exercise_3. Build a dike on the sandpit
行為錄像 Performance video
7’45”
2020

無所事事_練習四：升旗 Nothing Exercise_4. Fly a kite as a flag
行為 Performance
2020

無所事事_練習四：升旗 Nothing Exercise_4. Fly a kite as a flag
行為 Performance
2020

魔幻寫實現場直播系列 Magical Realism LIVE Broadcast Series
與黃百亨共同創作 Collaboration with Wong Pak Hang
互動式直播 Interactive Live Performance
尺寸可變 Duration Variable
2019

魔幻六四 LIVE June 4 LIVE Broadcast

清明魔幻寫實現場直播 Qingming Festival Magic Realism LIVE Broadcast

日曜日Tea Time 魔幻LIVE Sunday Tea Time Magic LIVE Broadcast