展览 Exhibition | 安娜·冈萨雷斯-野口Anna Gonzalez-Noguchi:24/8*

Gallery Vacancy在Derosia接待空间的前厅呈现日裔西班牙籍艺术家安娜·冈萨雷斯-野口的特别个人项目“24/8*”。这一展示设置在劳动、行政和创意静静重叠的工作环境中，为冈萨雷斯-野口的壁挂雕塑提供了一个无缝的框架，这些雕塑由文具、折叠铝材、黄铜元素和杂志页碎片组成。

这些作品属于艺术家持续创作的“神棚（Kamidama）”系列，以日语中意为“神龛”的词命名——通常在家庭和企业中发现的微型祭坛 。受冈萨雷斯-野口跨文化背景的影响，该系列借鉴了她从日本祖父母那里继承的个人材料的私密档案，这些材料经常渗透在她作品的表面。通过雕塑组装，手工制作的形式、世俗的器物和发现的图像被分层叠加在一起，暗示着对记忆、继承和奉献的持续重新协商。

安娜·冈萨雷斯-野口

阿尔法蜻蜓，2026

铝材、杂志剪贴、钥匙

8.5 x 16 x 2.5 公分（3 3/8 x 6 1/4 x 1 英寸)

Anna Gonzalez-Noguchi

DragonFly Alpha, 2026

Aluminium, magazine cuttings, key

8.5 x 16 x 2.5 cm (3 3/8 x 6 1/4 x 1 in)

在这组新的雕塑中，蚀刻在黄铜上闪闪发光的兰花被绿拇指按压和穿刺，而贴有姓名标签的铅笔作为祭品立在原位 。从她祖父的园艺杂志上剪下来的碎片为每件雕塑授粉，以碎片、污渍、翅膀或像蜻蜓一样的锈色锁入原位 。折叠的铝表面上注明了杂交兰花的名字、缩写、星期几、她祖母的年龄以及反复出现的星号符号——这个标记为被遮蔽的关系、未完成的故事以及承载记忆的脆弱系统作了脚注。

安娜·冈萨雷斯-野口

朱砂红，2026

铝材、信封剪贴、雕刻彩铅

11.5 x 10 x 2 公分（4 1/2 x 10 x 3/4 英寸)

Anna Gonzalez-Noguchi

Vermillion, 2026

Aluminium , envelope cutting, engraved colour pencil

11.5 x 10 x 2 cm (4 1/2 x 10 x 3/4 in)

每件雕塑都采用了私密的尺寸，仿佛是为了握在手掌中而制作的。在整个展示中，冈萨雷斯-野口的作品暗示了一场无声的跨代合作，在时区、文化和私人历史之间穿行。标题“24/8*”指的是一件保留的作品，仍挂在艺术家的工作室墙上。它还没有像其他作品那样最终定型，并准备再次移动，它指向了星期几中的额外一天——一个这些作品似乎从中浮现的、短暂且无法测量的时刻。

安娜·冈萨雷斯-野口

蝴蝶兰·御魂，2025

铝材、杂志剪贴、圆珠笔

9.8 x 13 x 2 公分（3 7/8 x 5 1/8 x 3/4 英寸)

Anna Gonzalez-Noguchi

Phal. Goldiana - Kamidama, 2025

Aluminium, magazine cuttings, colour pencil

9.8 x 13 x 2 cm (3 7/8 x 5 1/8 x 3/4 in)

Gallery Vacancy presents 24/8*, a special solo project by Japanese-Spanish artist Anna Gonzalez-Noguchi in the front room of Derosia’s reception office. Set within a working environment where labor, administration, and creativity quietly overlap, the presentation offers a seamless framework for Gonzalez Noguchi’s wall-based sculptures, which are composed from stationery, folded aluminum, brass elements, and fragments of magazine pages.

安娜·冈萨雷斯-野口

金色莱拉，2026

铝制名片夹、黄铜雕刻片、杂志剪贴、磁铁

11.6 x 9 x 0.8 公分（4 5/8 x 3 1/2 x 1/4 英寸)

Anna Gonzalez-Noguchi

Golden Leila, 2026

Aluminium business card holder, engraved brass sheet, magazine cutting, magnet

11.6 x 9 x 0.8 cm (4 5/8 x 3 1/2 x 1/4 in)

The works belong to the artist’s ongoing Kamidana series, titled after the Japanese word for “god shelf” — miniature altars commonly found in homes and businesses. Informed by Gonzalez Noguchi’s cross-cultural background, the series draws from an intimate archive of personal materials inherited from her Japanese grandparents, which often permeates the surfaces of her work. Through sculptural assembly, handcrafted forms, prosaic artefacts, and found images are layered together, suggesting an ongoing renegotiation of memory, inheritance, and devotion.

安娜·冈萨雷斯-野口

星期一，2026

铝材、杂志剪贴、盒子

14.5 x 14 x 4 公分（5 3/4 x 5 1/2 x 1 5/8 英寸)

Anna Gonzalez-Noguchi

Monday, 2026

Aluminium, magazine cutting, box

14.5 x 14 x 4 cm (5 3/4 x 5 1/2 x 1 5/8 in)

In this new group of sculptures, shimmering orchids etched in brass are pressed and punctured by green thumbs, while name-tagged pencils stand in place as offerings. Cuttings from her grandfather’s garden magazines pollinate each sculpture, appearing as fragments, stains, wings, or dragonfly-like patinations keyed into place. Folded aluminum surfaces are annotated with hybrid orchid names, abbreviations, days of the week, her grandmother’s age, and the recurring asterisk symbol — a mark that footnotes obscured relations, unfinished stories, and the fragile systems through which memory is held.

Each sculpture takes on an intimate scale, as if made to fit in the palm of a hand. Across the presentation, Gonzalez Noguchi’s works suggest an unspoken cross-generational collaboration, moving between time zones, cultures, and private histories. The title 24/8* refers to a withheld work, still on the wall of the artist’s studio. Not yet finalized like the others, and ready to move again, it points toward an additional day of the week — a transient, unmeasured time from which the works seem to appear.

安娜·冈萨雷斯-野口

蜻蜓牌，2026

铝材、杂志剪贴、铅笔

12.5 x 9.5 x 2 公分（4 7/8 x 3 3/4 x 3/4 英寸)

Anna Gonzalez-Noguchi

Tombow, 2026

Aluminium, magazine cutting, pencil

12.5 x 9.5 x 2 cm (4 7/8 x 3 3/4 x 3/4 in)

About the Artists

安娜·冈萨雷斯-野口，1992年出生于英国，现工作生活于希腊雅典。她于2014年毕业于英国布莱顿大学雕塑系学士学位，并于2018年获得英国皇家艺术学院雕塑系硕士学位。冈萨雷斯-野口的创作围绕记忆、材料与文化身份之间的交织展开，其实践深受其西班牙与日本双重文化背景，以及与日本祖父母之间深厚情感关系的影响。她的装置作品往往结合工业制品与手工制作物件，涵盖私人收藏、铜版雕刻与现成物，借以重新审视物件在情感投射与文化建构中的作用。兰花图像、书写痕迹、数字与字母等符号语言在她的作品中频繁出现，既是对亲情记忆的追溯，也成为文化特异性的载体与隐喻。通过精细编排与临床般的陈列方式，将承载亲密记忆的现成物纳入严密结构，使作品在感性与理性、手工与工业之间形成微妙张力，并指向物件在私人记忆与集体情感之间流转的角色。

近期个展包括: “Lc. Galaxy x 94”，Commonage，伦敦，2025。群展包括：“Bling!”，Soup Gallery，伦敦，2026；“Everything Signs Its Name”，MISC，雅典，2026；“Things the Tide Choose Not to Take”，ART-O-RAMA，马赛，2025；“基岩”，利物浦双年展，2025；“Ubiquitous No.14”，Tube Gallery，马略卡，2023；“Halls of Mirrors”，PLOP，伦敦，2023；“Cloud & Toe”，KNULP，悉尼，2023；“Beyond Fear”，Tinos Cultural Foundation，提诺斯岛，2023；“Kazuko Splendor”，La Boulangerie，巴黎，2023；“A Surviving Image”，Zerui，伦敦，2023；“Portable Elastic Temple”，Pet Projects，雅典，2022；“On the Other Hand”，Canary Wharf Estate，伦敦，2021。

Anna Gonzalez-Noguchi, born in the UK in 1992, currently lives and works in Athens, Greece. She received a BA in Sculpture from the University of Brighton in 2014 and a MA in Sculpture from the Royal College of Art, in 2018. Gonzalez-Noguchi’s sculptural practice examines the layered intersections of memory, material, and cultural identity, informed by her Spanish and Japanese cross-cultural heritage and familial ties to her Japanese grandparents. Her works incorporate both machine-produced and hand-made objects, ranging from personal possessions to copper engravings, as a means of renegotiating the meanings and associations embedded in existing forms. Recurring motifs such as handwritten notes, orchids and typographic forms in letters and numbers reference both familial bond and cultural specificity. Carefully assembled into clinically composed structures, her hybrid works generate a subtle tension between emotion and reason, craft and industry, probing the shifting role of objects as both relics of personal history and vessels of collective sentiment.

Recent solo exhibitions include: Lc. Galaxy x 94,Commonage, London, 2025. Group exhibitions include: Bling!, Soup Gallery, London, 2026; Everything Signs Its Name, MISC, Athens, 2026; Things the Tide Choose Not to Take,  ART-O-RAMA, Marseille, 2025; BEDROCK, Liverpool Biennial, 2025; Ubiquitous No.14, Tube Gallery, Mallorca, 2023; Halls of Mirrors, PLOP, London, 2023; Cloud & Toe, KNULP, Sydney, 2023; Beyond Fear, Tinos Cultural Foundation, 2023;  Kazuko Splendor, La Boulangerie, Paris, 2023; A Surviving Image, Zerui, London, 2023; Portable Elastic Temple, Pet Projects, Athens, 2022; and On the Other Hand, Canary Wharf Estate, London, 2021.