阅读和观看的区别是什么，
所见又真的等同于所得吗？

安徒生童话《野天鹅》中的公主为了拯救被巫术变异的哥哥，天天一言不发采集荆棘编织。美和沉默相关联，而公主也因她神秘的冷静深深吸引了偶然路过的邻国王子。什么样的坚持是值得钦佩的，什么样的口音是异域得恰到好处的，什么样的另类是性感的？又在什么样的情况下，没有指向的图片是有意义的，私人的情绪是能连系大众的？确实，每个人都有身体，但是我们所说的身体并不是笼统的。医生没有告诉我，但我在事后发现，很久之前感染的带状疱疹的病毒，会潜伏在我的体内直至生命的尽头。


Can images be more powerful than words?
How can I describe my feelings if I don’t have the vocabularies?


In The Wild Swans by Hans Christian Andersen, the princess need to remain silence and knit stinging nettles from the graveyards into shirts to save her eleven brothers casted by witchcraft. There is beauty associated with the quiet and lack of agency which essentially makes the prince fall in love with the princess. To what extend can accent be sexy, otherness be exotic, captionless photographs be informing, personal narratives be inclusive? There is an expansiveness to language: it both reaches for but never, really, arrives. It is arms out; stretched. It is sitting with hands facing upward on knees. It is true everybody has a body but that body is never universal. My doctor did not tell me this but later I discovered this on my own, that the Varicella zoster virus in my body will live with me for the rest of my life.

Passaggio is a term used in classical music to describe the transition in between chest voice and head voice. Only through extensive training and practice can someone project resonant sound during this transition area. This installation invites the viewer to interact with the photographs in the manner of reading rather than looking. Body Sing is a dual projection that revolves around the concept of binocular rivalry and episodic memory. Endel Tulving made the distinction between knowing and remembering, that knowing is factual recollection (semantic) whereas remembering is a feeling that is located in the past (episodic). In the projection, texts and moving images are showing simultaneously as stimuli that aim to evoke feelings that challenge each other and often suppressed by guilt and self-conscious.

This exhibition is the first chapter of an on-going project that examines voices and transit(lat)ions which will be further unpacked in the form of film and performance.

Amiko Li，1993年出生于上海，是一位主要使用摄影和文字媒介创作的艺术家。他的作品从文化体系中的细微差别出发，通过再创作、交流和误译，以一种反思性的方式来探讨文化系统以及语言伦理。他于芝加哥艺术学院和罗格斯大学分别获得艺术学士和硕士学位，参与的展览和放映活动包括：UCCA当代艺术中心（北京，2020），平地电影节（冰岛，2019），电影资料档案馆（纽约，2019），“座机”（芝加哥，2019），艾布朗艺术中心（纽约，2018），贝尔法斯特国际摄影节（爱尔兰贝尔法斯特，2017），哥伦比亚大学 LeRoy Neiman 画廊（纽约，2014），阿尔斯特博物馆（爱尔兰，2014）等。Amiko Li曾获得爱尔兰皇家阿尔斯特学院肖像奖，并获得费城摄影艺术中心、三角艺术协会（Triangle Arts Association）、斯图加特艺术家之家 Künstlerhaus Stuttgart 等机构驻留。

Amiko Li (b. 1993 Shanghai) has had solo exhibitions at Dodd Galleries at University of Georgia, United States; and SpacePlace, Russia. Li’s work has been featured in group exhibitions and presentations such as: Abrons Arts Center, New York; LeRoy Neiman Gallery at Columbia University, New York; Anthology Film Archive, New York, NY; Ulster Museum, Ireland; Thorvald Meyers 51, Norway; UCCA Center for Contemporary Art, China; Flat Earth Film Festival, Iceland; and Belfast Photo Festival, Ireland. Li is currently teaching in the Department of Visual Arts at UC San Diego. Amiko Li (b. 1993 Shanghai) has had solo exhibitions at Dodd Galleries at University of Georgia, United States; and SpacePlace, Russia. Li’s work has been featured in group exhibitions and presentations such as: Abrons Arts Center, New York; LeRoy Neiman Gallery at Columbia University, New York; Anthology Film Archive, New York, NY; Ulster Museum, Ireland; Thorvald Meyers 51, Norway; UCCA Center for Contemporary Art, China; Flat Earth Film Festival, Iceland; and Belfast Photo Festival, Ireland. Li is currently teaching in the Department of Visual Arts at UC San Diego.