《四惠》是一系列描繪動(dòng)態(tài)、遷移和連接的景觀想象，它產(chǎn)生于這些想法都無(wú)法實(shí)現(xiàn)的時(shí)刻。受地圖、軌跡追蹤和彎曲的步行路線所啟發(fā)，這些作品是關(guān)于各類旅行（旅途）的沉思——向內(nèi)、向外、宏大的和渺小的。

在全球因疫情而封鎖停擺期間，網(wǎng)上購(gòu)物和快遞成為與其他人產(chǎn)生身體接觸的僅有形式。很多不同形狀大小的包裹配送頻繁到達(dá)，每一件快遞都用醒目的膠帶和塑料泡沫包裹著?！端幕荨废盗兄凶髌凡牧系倪x擇是出于不斷應(yīng)對(duì)高高堆積起來(lái)的各類包裝材料的需要，隨著時(shí)間的推移，作品逐漸演變?yōu)樽陨砼c普遍和低端材料之間關(guān)系的重新審視。

北京的立交橋是為中國(guó)最早的一批城市快速路所修建，《四惠》系列作品中的現(xiàn)場(chǎng)裝置便是其中一座立交橋的縮影。北京的交通地圖上顯示，首都多重的環(huán)路上每一座立交橋的設(shè)計(jì)都是獨(dú)一無(wú)二的；這座城市沒(méi)有兩座相同的橋；從一個(gè)地點(diǎn)順暢的到達(dá)另一個(gè)地點(diǎn)需要高度熟悉地域狀況；熟練程度取決于經(jīng)驗(yàn)和時(shí)間。

《四惠》是一個(gè)持續(xù)的探索，是去捕捉個(gè)人軌跡中的一個(gè)時(shí)間點(diǎn)；也是一個(gè)不斷發(fā)展和變化的實(shí)驗(yàn)。

All Directions Benefit is a series of imagined landscape depicting movement, migration and connection, created during a time when these ideas could not be realized. Inspired by maps, trace routes, and meandering walking paths, the works are contemplations of various journeys—inward, outward, large and small.

During the pandemic lockdown, online shopping and delivery was one of the limited forms of physical contact with others. Package deliveries arrived frequently, taking many shapes and sizes; each arrival was a revelation of tape and plastic foam wrapping. The wall collages in All Directions Benefit initially started as a way to confront a growing pile of accumulating packing materials. Over time, the works evolved into new perspectives on common and “poor” materials.

Some of the earliest highway interchanges in China were built in Beijing. The wire sculpture in All Directions Benefit is a scale representation of one of these interchanges. Transit maps of the city show that every interchange junction in Beijing’s multiple ring roads is unique; no two bridges are alike. Moving seamlessly from one point to another requires intimate familiarity with the territory; a proficiency that comes with experience and time.

All Directions Benefit is an ongoing exploration. The exhibition itself is a point on a line within a personal trajectory, and an experiment that continues to evolve and change.

何穎宜是一位從事裝置和表演工作的多學(xué)科藝術(shù)家。她的作品通過(guò)幽默、出乎意料的方式處理日常物品和情況，以質(zhì)疑更廣泛的社會(huì)或文化問(wèn)題。何穎宜獲得加利福尼亞大學(xué)洛杉磯分校的戲劇藝術(shù)學(xué)士文憑，以及紐約大學(xué)交互式遠(yuǎn)程通訊項(xiàng)目的碩士文憑。她生活并工作于北京和舊金山。

何穎宜參與過(guò)在亞洲、歐洲和美國(guó)舉行的個(gè)展及群展，其中包括：Luggage Store Gallery（舊金山，2016）；BANK畫廊（上海，2014）；St Andrews Museum（英國(guó)快富，2013）；上海美術(shù)館（上海，2011）；Collective Gallery（愛(ài)丁堡，2011）；站臺(tái)中國(guó)（北京，2010）；San-Art（胡志明市，2010）；長(zhǎng)征空間（北京，2008）。何穎宜是箭廠空間的聯(lián)合創(chuàng)始人，箭廠空間是北京市中心歷史最悠久、獨(dú)立經(jīng)營(yíng)的另類櫥窗式藝術(shù)空間之一（箭廠于二零一九年九月關(guān)閉）。她也是五金的聯(lián)合創(chuàng)始人，五金是一個(gè)集合了迷你咖啡廳、書店及創(chuàng)意平臺(tái)的空間。

Rania Ho is a multidisciplinary artist working in installation and performance. Her works employ a humorous, unexpected approach to everyday objects and situations as a means of interrogating broader social or cultural concerns. Ho received her BA in Theater Arts from UCLA and a master’s degree from the Interactive Telecommunications Program (ITP) at New York University. She lives and works in Beijing and San Francisco.

Ho has participated in solo and group exhibitions throughout Asia, Europe and the United States, including at the Luggage Store Gallery, SF (2018); Capsule Gallery, Shanghai (2017); CASS Sculpture Foundation, UK (2016); BANK, Shanghai (2014); Meta Gallery, Shanghai (2015); Observation Society, Guangzhou (2013); St Andrews Museum, Fife, UK (2013); Shanghai Gallery of Art, Shanghai (2011); Collective Gallery, Edinburgh (2011); Platform China, Beijing (2010); San-Art, Ho Chi Minh City (2010); Long March Space, Beijing (2008). Ho is a co-founder of Arrow Factory, one of the longest-standing, independently run alternative art spaces in Beijing, which operated in a storefront from March 2008 to September 2019. She is also a co-founder of Wujin, a tiny café, bookshop and creative platform.