Beijing Drawing北京小画
Untitled IV (”Sucede / Things Happen”)
Untitled III (Can you hear the New York Days go by?)
Untitled II (Paris Version)
Wiring
Everything I Own (that you probably do, too): an inventory
N Train
Let it Grow
Untitled/藕断丝连
Yesterday was Today, Then was Now//刹那不住
Recipe Poster Project
Lotus Root Walk @ Greenwich Village
Lotus Root Walk @ Bowery
Body Seller//身体贩卖
p a t h
From Transparent to Opaque//从白开水到米浆
Five Spices//五香
Eight-Treasure//八宝
Mirror Path
Mattel’s Pickle美泰的腌咸菜
Jing A//京A
3PLUMS DELICATESSEN
Installation view at A plus A Gallery in Venice, Italy.
Two-channel live audio generated by Arduino DHT11 humidity sensor and TouchDesigner with tree branch foraged in Parco san giuliano, Venice.
Dimension variable.
双声道实时音频，由Arduino DHT11湿度传感器和TouchDesigner生成
装置包括树枝、葡萄种子、南瓜种子、山楂种子、西葫芦茎、茄子茎、秋葵茎、番茄茎、白竹片、柑橘皮，以及冰块中冻结的冰块，用红茶染色的棉线，酸奶玻璃罐，树叶和泥土
尺寸可变。
Si me preguntáis en dónde he estado
debo decir “Sucede”.
Debo de hablar del suelo que oscurecen las piedras,
del río que durando se destruye:
no sé sino las cosas que los pájaros pierden
el mar dejado atrás, o mi hermana llorando.
Por qué tantas regiones, por qué un día
se junta con un día? Por qué una negra noche
se acumula en la boca? Por qué muertos?
debo decir “Sucede”.
Debo de hablar del suelo que oscurecen las piedras,
del río que durando se destruye:
no sé sino las cosas que los pájaros pierden
el mar dejado atrás, o mi hermana llorando.
Por qué tantas regiones, por qué un día
se junta con un día? Por qué una negra noche
se acumula en la boca? Por qué muertos?
If you should ask me where I’ve been all this time
I have to say “Things happen.”
I have to dwell on stones darkening the earth,
on the river ruined in its own duration:
I know nothing save things the birds have lost,
the sea I left behind, or my sister crying.
Why this abundance of places? Why does day
lock with day? Why the dark night
swilling round in our mouths? And why the dead?
Pablo Neruda, There’s No Forgetting (Sonata), 1933
I have to say “Things happen.”
I have to dwell on stones darkening the earth,
on the river ruined in its own duration:
I know nothing save things the birds have lost,
the sea I left behind, or my sister crying.
Why this abundance of places? Why does day
lock with day? Why the dark night
swilling round in our mouths? And why the dead?
Pablo Neruda, There’s No Forgetting (Sonata), 1933
Were you to ask me whereI’ve been
I would have to say, “There comes a time.”
I would have to tell how dirt mottles the rocks,
how the river, running, runs out of itself:
I know only what left the birds bereaved,
the sea forsaken, or my sister weeping.
Why so many places, why does one day
cling to another? Why does a night’s blackness
drain into the mouth? Why the dead?
(Translated by Forrest Gander)
I would have to say, “There comes a time.”
I would have to tell how dirt mottles the rocks,
how the river, running, runs out of itself:
I know only what left the birds bereaved,
the sea forsaken, or my sister weeping.
Why so many places, why does one day
cling to another? Why does a night’s blackness
drain into the mouth? Why the dead?
(Translated by Forrest Gander)
“After curiosity about the withered grape stems, Zhuang gathered these remains from her meals, carefully preserving them as tangible documentation of her encounters. In Venice, this style develops by incorporating contributions from friends, galleries, and exhibition participants, blending unique histories into a unified narrative. The desiccated food particles interact with the soil, and their slow breakdown is detected by a humidity sensor based on Arduino. This sensor provides a real-time acoustic soundscape. The installation is a dynamic process that embodies the ephemeral nature of memory and place, making it akin to a living organism.”
Ariel Hou, 2023
Ariel Hou, 2023
Concrete poem composed in collaboration with Jingyun Wang.