Basel Social Club 2026：Office
Anna Gonzalez-Noguchi 安娜·冈萨雷斯-野口
Sydney Shen 沈心怡
Ye Yi 叶易
开放信息：
6月14日，星期日，下午2时至午夜3时
6月15日–6月20日，星期一至星期六，下午4时至午夜3时
Erdbeergraben 1, 4051 巴塞尔
Opening Information:
Sunday, June 14, 2 PM–3 AMMonday, June 15–Saturday, June 20, 4 PM–3 AM
Erdbeergraben 1, 4051 Basel
关于展览
About the Exhibition
Gallery Vacancy荣幸参加“巴塞尔社交俱乐部2026：办公室”，项目将于6月14日至20日在巴塞尔呈现。
本届巴塞尔社交俱乐部进驻巴塞尔SBB火车站附近一栋空置办公楼，通过展览、表演、音乐、美食与非正式的相遇，激活建筑的不同楼层。
以办公室作为主题与场景，本届项目回应数字化、远程基础设施与人工智能语境下，工作、时间与生产条件的持续变化。
我们期待参与这一与场地紧密呼应的项目，并于巴塞尔与大家见面。
此次Gallery Vacancy将呈现安娜・冈萨雷斯-野口、沈心怡与叶易的作品，三位艺术家共同将办公室从单纯的劳动场所转化为由表面、程序、工具与悬置期待所构成的系统。从天花网格、文具、名片夹到宣传铅笔，作品追踪行政结构如何渗入心理与物质生活，使熟悉的办公器物转化为关于延宕、供奉、推想与不安游戏的思辨场域。
安娜·冈萨雷斯-野口
幻灯片，2026铝制名片架、订书钉、显微镜载玻片、使用过的橡皮擦6 x 9 x 6 公分（2 3/8 x 3 1/2 x 2 3/8 英寸）
Anna Gonzalez-NoguchiSlides, 2026Aluminium business card holder, staples, microscopic glass slides, used-eraser6 x 9 x 6 cm (2 3/8 x 3 1/2 x 2 3/8 in)
安娜·冈萨雷斯-野口的雕塑实践围绕记忆、材料与文化身份之间层层交织的关系展开，并深受其西班牙与日本双重文化背景，以及她从日本祖父母处继承的家族档案所影响。她的作品结合机器生产的物件、手工处理的表面、现成图像与私人物件，使家务、工作与供奉性材料进入同一种语法之中。在这些近乎临床式编排的组合中，家族痕迹并非被保存为稳定的遗物，也不被直接转译为自传叙事；它们更像是记忆被处理、修订并部分保留的系统。
在巴塞尔社交俱乐部中，冈萨雷斯-野口呈现一组来自其持续创作的 Kamidana（神棚）系列的小尺幅作品。“神棚”指日本家庭与商铺中常见的小型祭坛。办公文具、名片夹、铅笔、钥匙、图钉、载玻片与折叠铝面在她的作品中被重新设置为供奉物与脆弱秩序的载体。一支刻有她祖母姓名的绘图铅笔，让人联想到为避免相同工具混淆而进行标记的工作习惯；当失智症扰动辨认能力时，这一铭刻便从实用标签转化为温柔而不确定的痕迹。兰花名称、园艺杂志剪贴、日期、缩写与反复出现的星号在作品中移动，像是为被遮蔽的关系与未完成的故事留下注脚。这些近乎掌心大小的结构暗示着一种安静的跨代协作：照护、分类与办公室日常在其中汇合为一种关于放置与归还的细腻经济。
沈心怡
卡拉西部之星游乐设备公司，2022雪松木、石墨、丙烯、纯金箔、PLA树脂、植绒纤维、金属支架版数：AP of 1+1AP228.6 x 25.4 x 23.5 公分（90 x 10 x 9 1/4 英寸）
Sydney ShenCalamity Twire Amusements, 2022Cedar wood, graphite, acrylic, sterling gold leaf, PLA resin, nylon flocking fiber, steel mountEdition AP of 1+1AP228.6 x 25.4 x 23.5 cm (90 x 10 x 9 1/4 in)
沈心怡的雕塑与装置构建出兼具吸引力与不安感的世界，在其中，日常物、身体的脆弱性与展示系统之间的关系变得不再稳定。在她持续创作的一组铅笔雕塑中，熟悉的书写工具被放大为一种带有过时感的虚构公司宣传物。这一系列延续了沈心怡对于功能性与虚构性之间暧昧关系的兴趣：铅笔在技术上仍然可以书写，但当它们被放大至近乎纪念碑式的尺度时，便同时成为道具、纪念品、广告物与世界构建的装置。嵌入作品中的文字既是散文诗式的片段，也是进入其概念景观的线索，指向艺术家曾幽默称为“她的雕塑所居住的公司市镇”的世界。
《卡拉西部之星游乐设备公司》（2022）以一支巨型“宣传铅笔”的形式展开，仿佛是为一家虚构公司制作的广告物。作品由雪松木、石墨、丙烯、22.7k金箔、PLA树脂、尼龙植绒纤维与钢制支架构成，顶端装饰着一只植绒泰迪熊，并以手削般的石墨笔尖完成，因此在功能上仍保留了书写的可能，但巨大的笔身成为难以操作的悬置物件。笔身上以金箔压印的“Calamity Twire Amusements”并不指向一个固定含义：这组词语带有近似歌谣般的节奏，唤起对于“美国西部”的想象。其中，“Calamity”令人联想到美国西部著名女牛仔与神枪手Calamity Jane（卡拉米蒂·简）；“twire”为古英语词，此处保留其陌生而带有旧时代感的音韵与“amusements”（游乐设施）共同构成了一个介于名称、口号与虚构公司招牌之间的短语。装饰性强烈的粗衬线字体也进一步让人联想到通缉令、演出海报以及大众想象中的西部视觉语言。这家虚构公司专门建造“矿山列车”过山车；对沈心怡而言，这种在世界各地主题乐园中常见的设施，指向“西部”图景及其相关技术如何持续存在于当代文化想象之中。
沈心怡
卡拉西部之星游乐设备公司（细节），2022雪松木、石墨、丙烯、纯金箔、PLA树脂、植绒纤维、金属支架版数：AP of 1+1AP228.6 x 25.4 x 23.5 公分（90 x 10 x 9 1/4 英寸）
Sydney ShenCalamity Twire Amusements(detail), 2022Cedar wood, graphite, acrylic, sterling gold leaf, PLA resin, nylon flocking fiber, steel mountEdition AP of 1+1AP228.6 x 25.4 x 23.5 cm (90 x 10 x 9 1/4 in)
作品上的另一组文字“Fifth Dimension Locomotion”（“第五维度的运动”）进一步展开了这家虚构游乐公司的设定。沈心怡从“4D过山车”的概念出发：这类过山车的车厢不仅沿轨道移动，也会在行进过程中旋转。她在此基础上虚构出一种“第五维度”的过山车，使其不只在空间中移动，也仿佛能够穿越时间。“Locomotion”既泛指运动，也常与火车、机车和轨道交通联系在一起；它与“twire”一词中的古旧语感相互呼应，将铁路旅行、游乐设施工程与时间旅行的想象折叠为一句虚构广告语。在办公室的语境中，沈心怡的铅笔因此同时成为工具与广告物：一件被放大到超出使用尺度的书写工具，将工作场所的实用性牵引至幻想、风险与悬置的运动之中。
叶易
何时重相逢，2026皮革、天花板霓虹灯、铝材324 x 388 x 9 公分（共三部分：196 x 198 x 9 公分；196 x 196 x 9 公分；132 x 260 x 9 公分）127 5/8 x 152 3/4 x 3 1/2 英寸（77 1/8 x 78 x 3 1/2 英寸；77 1/8 x 77 1/8 x 3 1/2 英寸；52 x 102 3/8 x 3 1/2 英寸）
Ye YiWhen shall we three meet again, 2026Leather, ceiling neon light, aluminumAssembled: 324 x 388 x 9 cm (3 parts: 196 x 198 x 9 cm; 196 x 196 x 9 cm; 132 x 260 x 9 cm)127 5/8 x 152 3/4 x 3 1/2 in (77 1/8 x 78 x 3 1/2 in; 77 1/8 x 77 1/8 x 3 1/2 in; 52 x 102 3/8 x 3 1/2 in)
现居巴黎的中国艺术家叶易以功能性空间作为雕塑与装置实践的出发点，关注特定情绪如何在被规训的环境中凝结与显现。其近期研究聚焦于高度理性化与标准化的办公空间，并将“忧郁”理解为一种由理性结构自身所生成的错位状态：行动被悬置，而思想与情感则被不断放大、循环并空转。通过文学、悲剧与历史等线索，叶易追溯这些情感结构在不同历史时刻中的延续，并考察其如何在当代空间中被重新感知。
在巴塞尔社交俱乐部2026中，叶易呈现《何时重相逢》（2026），一件重新构造现代办公室常见悬吊式天花网格系统的装置。工业面板被皮革浮雕取代，铝制网格与闪烁的天花灯将建筑倾斜为一个不稳定的舞台。三只乌鸦悬停于结构之中；作品标题借用了莎士比亚《麦克白》开篇中第一女巫的台词，引入一种预言式的时间感：未来不再通向可被改变的开放状态，而像是落入一个被预设并反复循环的闭合结构。乌鸦既未起飞，也未降落，而是围绕一个不断被延宕的时刻盘旋。相对于办公室天花系统的标准化逻辑，它们的动物性存在与将熄未熄的灯光揭示出一种更为缓慢的暴力，它并不突然降临，而是在静默中逐步改变人的行动、注意力与身体状态。
安娜·冈萨雷斯-野口
24-8，2026铝材、杂志剪贴7 x 13 x 3 公分（2 3/4 x 5 1/8 x 1 1/8 英寸）
Anna Gonzalez-Noguchi24-8, 2026Aluminium, magazine cutting7 x 13 x 3 cm (2 3/4 x 5 1/8 x 1 1/8 in)
We’re pleased to participate in Basel Social Club 2026: Office, on view June 14–20 in Basel.
This year’s edition occupies a vacant office building near Basel SBB, activating its floors through exhibitions, performances, music, gastronomy, and informal encounters.
Positioning the office as both subject and scenography, Basel Social Club engages with evolving conditions of work, time, and production in the context of digitalization, remote infrastructures, and artificial intelligence.
We look forward to contributing to this site-responsive program and to welcoming you in Basel.
Gallery Vacancy’s presentation brings together Anna Gonzalez Noguchi, Sydney Shen, and Ye Yi, whose works approach the office not simply as a place of labor, but as a system of surfaces, routines, instruments, and suspended expectations. Across stationery, business-card holders, promotional pencils, and ceiling grids, the selected works trace how administrative structures seep into psychic and material life, transforming familiar tools into sites of devotion, speculation, delay, and uneasy play.
Anna Gonzalez Noguchi’s sculptural practice examines the layered intersections of memory, material, and cultural identity, shaped by her Spanish and Japanese heritage and by a family archive inherited from her Japanese grandparents. Her works bring together machine-produced objects, hand-worked surfaces, found images, and personal objects, allowing household, work-related, and devotional materials to enter a shared grammar. In these clinically composed assemblages, familial traces are neither preserved as stable relics nor translated into direct autobiography; instead, they become part of a system through which memory is handled, revised, and partially withheld.
安娜·冈萨雷斯-野口
伊万·苹果花，2026铝制名片架、蚀刻黄铜片、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-NoguchiIwan. Appleblossom, 2026Aluminium business card holder, engraved brass sheet, magazine cutting, magnet11.6 x 9 x 0.8 cm (4 5/8 x 3 1/2 x 1/4 in)
At Basel Social Club, Gonzalez Noguchi presents a group of small-scale works from her ongoing Kamidana series, titled after the Japanese term for “god shelf,” a miniature altar often found in homes and businesses. Office stationery, business-card holders, pencils, keys, pins, slides, and folded aluminum surfaces are recast as offerings and carriers of fragile order. A drafting pencil engraved with her grandmother’s name recalls the workplace habit of marking identical tools to prevent confusion; as dementia unsettles recognition, the inscription shifts from a practical label into a tender and uncertain trace. Orchid names, garden-magazine cuttings, dates, abbreviations, and recurring asterisks move across the works as annotations to obscured relations and unfinished stories. Their palm-scaled structures suggest a quiet cross-generational collaboration, where care, classification, and office routine converge in a delicate economy of placement and return.
Sydney Shen’s sculptures and installations construct seductive yet unsettling worlds in which ordinary objects, bodily vulnerability, and speculative systems of display become unstable. Within her ongoing pencil sculptures, a familiar writing tool is enlarged into an outmoded promotional object for fictional companies. The works extend Shen’s interest in the ambiguity between function and fiction: the pencils remain technically able to write, yet at monumental scale they become props, souvenirs, advertisements, and worldbuilding devices. The textual elements embedded in these works operate as prose-poetic fragments and clues to what the artist has drolly called the “company town where [her] sculptures live.”
Calamity Twire Amusements (2022) takes the form of a giant promotional pencil advertising an imagined company. Made from cedar wood, graphite, acrylic, 22.7k gold leaf, PLA resin, nylon flocking fiber, and a steel mount, the sculpture is topped with a decorative flocked teddy bear and fabricated with a hand-sharpened graphite tip. It therefore retains the possibility of writing, while its enlarged body becomes a suspended object difficult to operate. The gilded text “Calamity Twire Amusements” does not carry a fixed meaning; in Shen’s notes, its sing-song rhythm evokes the imagined language of the “Wild West.” The word “Calamity” invokes the figure of Calamity Jane—the legendary sharpshooter and frontierswoman—connecting the work to the enduring cultural mythology of the American West. “Twire” is an archaic word; and “amusements” suggests an amusement-ride company. The decorative heavy serif lettering further recalls wanted posters and playbills from the popular imagination of the American West. This imagined company specializes in building “mine train coasters,” a familiar theme-park ride that, for Shen, points to the persistence of Wild West imagery and the technologies associated with that era within contemporary cultural fantasy.
沈心怡
卡拉西部之星游乐设备公司（细节），2022雪松木、石墨、丙烯、纯金箔、PLA树脂、植绒纤维、金属支架版数：AP of 1+1AP228.6 x 25.4 x 23.5 公分（90 x 10 x 9 1/4 英寸）
Sydney ShenCalamity Twire Amusements(detail), 2022Cedar wood, graphite, acrylic, sterling gold leaf, PLA resin, nylon flocking fiber, steel mountEdition AP of 1+1AP228.6 x 25.4 x 23.5 cm (90 x 10 x 9 1/4 in)
The phrase “Fifth Dimension Locomotion” embossed on the work expands this fictional amusement company into a speculative ride system. Shen begins from the logic of 4D rollercoasters, in which the car spins while moving along the track, and imagines a “fifth dimension” rollercoaster that moves not only through space, but also through time. The word “locomotion” names movement in general, while also carrying a popular association with trains; paired with the archaic flavor of “twire,” it folds the language of rail travel, theme-park engineering, and time travel into a single fictional slogan. Presented in the context of an office, Shen’s pencil becomes both tool and advertisement: an enlarged writing instrument whose promotional language turns workplace utility toward fantasy, risk, and suspended movement.
Paris-based Chinese artist Ye Yi takes functional space as the point of departure for his sculptural and installation practice, focusing on how specific emotional states crystallize within regulated environments. His recent research centers on the office as a highly rationalized and standardized space. Within this context, he approaches melancholy as a state of dislocation produced by rational structures themselves: action is suspended, while thought and affect continue to intensify and circulate.
For Basel Social Club 2026, Ye presents When shall we three meet again (2026), an installation that reconfigures the suspended grid ceiling system commonly found in modern offices. Industrial panels are replaced by leather reliefs, while aluminum grids and flickering ceiling lights tilt the architecture into an unstable stage. Three ravens hover within the structure; the title borrows from the opening line of Shakespeare’s Macbeth, spoken by the First Witch, and introduces a prophetic temporality in which the future feels less open than endlessly rehearsed. The birds remain neither taking off nor landing, circling a moment that is continually deferred. Against the standardized logic of the office ceiling, their animal presence and the faltering light reveal a slower form of violence: one that does not erupt, but gradually reorganizes action, attention, and the body’s capacity to move.
关于艺术家
About the Artists
安娜·冈萨雷斯-野口Anna Gonzalez-Noguchi
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: “24/8*”，Gallery Vacancy于Derosia，纽约，2026；“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: 24/8*, Gallery Vacancy hosted by Derosia, New York, 2026; 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.
沈心怡Sydney Shen
沈心怡，1989年出生于美国新泽西，现生活、工作于纽约。2011年毕业于库伯联盟学院。她的装置、雕塑通常流露不寻常的诡谲与疏离。她从一系列的历史和当代文化资源中得到灵感，包括中世纪刑罚考究、科幻文学、和线上世界中加密的暗网，并以弗兰肯斯坦式—科学怪人的手法将中西方医疗器械、3D打印、以及生物标本等有机和人造材料重新搭建，利用这种诱人且恐怖双重性将观众一步一步拉入她自编自导自演光怪陆离多重虚构的「真实」之中。
她的个展和个人项目包括：“第一把椅子”，Gallery Vacancy于巴塞尔艺术展香港展会，2023；“我到你的荣耀里”，Gallery Vacancy于Liste Art Fair Basel，巴塞尔，2021；“Strange But True”，Queens Museum，纽约，2021；“苦鞭作乐”，Gallery Vacancy，上海，2021；“Every Good Boy Does Fine”，Sophie Tappeiner，维也纳，2019；“Onion Master”，New Museum，纽约，2019。近期群展于：Musée de Carouge，日内瓦，2025；美凯龙艺术中心，北京，2024；广东时代美术馆，广州，2024；Jack Barrett，纽约，2023；金鹰美术馆，南京，2023；Simone Subal，纽约，2022；Lubov，纽约，2022；Kraupa-Tuskany Zeidler，柏林，2022；47 Canal，纽约，2022。沈心怡是2019–2020年Queens Museum Jerome Foundation Emerging Artist Fellowship的得奖者，并在2019–2020年取得Lower Manhattan Cultural Council Workspace的驻留。沈心怡的作品收藏于：Asymmetry Art Foundation，伦敦；G Museum，南京；Longlati Foundation，香港；美凯龙艺术中心，北京；M+美术馆，香港；Sigg Collection，巴塞尔；Tanoto Family Collection，新加坡。
Sydney Shen, born in 1989 in Woodbridge, now lives and works in New York. She completed her BFA at The Cooper Union for the Advancement of Science and Art, New York in 2011. Shen uses sculptures and installations to create an atmosphere of wretched apprehension, examining the limitation of mentality through the extremity of the physical body. Exploring through various sources from historical and contemporary art history, including but not limited to medieval excruciation, supernatural horror fiction, and Internet subcultures, Shen frankensteins organic and fabricated materials such as Chinese and Western medical apparatus and instruments, graphic designed ornaments, and biological specimens. With the enticing but horrifying duality in her work, Shen manages to drag the audiences into the bizarre yet motley world she creates, directs and performs in.
Her solo exhibitions include: First Chair, Gallery Vacancy at Art Basel Hong Kong, 2023; Cupio Dissolvi, Gallery Vacancy at Liste Art Fair Basel, 2021; Strange But True, Queens Museum, New York, 2021; Misery Whip, Gallery Vacancy, Shanghai, 2021; Every Good Boy Does Fine, Sophie Tappeiner, Vienna, 2019; and Onion Master, New Museum, New York, 2019. Her works have been featured in exhibitions at: Musée de Carouge, Geneva, 2025; Macalline Center of Art (MACA), Beijing, 2024; Guangdong Times Museum, Guangzhou, 2024; Jack Barrett, New York, 2024; G Museum, Nanjing, 2023; Simone Subal, 2022, New York; Lubov, New York, 2022; Kraupa-Tuskany Zeidler, Berlin, 2022; 47 Canal, New York, 2022. Shen was the recipient of The Queens Museum-Jerome Foundation Fellowship for Emerging Artists and the Lower Manhattan Cultural Council Workspace Residency Program in 2019. Her works are included in the collections of: Asymmetry Art Foundation, London; G Museum, Nanjing; Longlati Foundation, Hong Kong; MACA Macalline Art Center, Beijing; M+ Museum, Hong Kong; Sigg Collection, Basel; Tanoto Family Collection, Singapore.
叶易Ye Yi
叶易，1995年出生于中国衢州，现生活与工作于巴黎。他于2025年获得巴黎国立高等美术学院硕士学位。叶易的创作以功能性空间为出发点，关注空间与特定情绪状态之间的生成关系。其近期实践聚焦于办公室这一高度系统化、规训化的环境。在这一语境中，他将“忧郁”视为一种由理性结构所生成的错位状态：行动被抑制，而思想与情感则被放大，并持续运转。通过文学、悲剧与文化史等线索，他追溯此类情感结构如何在不同历史时刻中反复出现，并在当代环境中被重新经验。
叶易主要以雕塑与装置作为创作媒介，使用石材、皮革与金属等材料；这些材料各自承载着双重的文化联想与感官共鸣。他的作品呈现出控制与情感之间持续存在的张力。其个展包括：“La Bile Noire”，巴黎国立高等美术学院，巴黎，2025；“The Blue Flower”，南特-圣纳泽尔高等美术学院，南特，2022。群展包括：“Felicità 2025”，Palais des arts，巴黎，2025；“Entre sans sonner”，Crous Galerie，巴黎，2025；“La Dernière Mode”，Agence de Voyage，巴黎，2025；“Crush”，巴黎国立高等美术学院，巴黎，2025；“Il n’y a pas d’infini, tout est parcelle”，60 Adada，圣但尼，2023；“No fishing”，巴黎国立高等美术学院，巴黎，2023。
Ye Yi, born in 1995 in Quzhou, China, now lives and works in Paris. He received his MFA from the École nationale supérieure des Beaux-Arts de Paris in 2025. His practice takes functional spaces as its point of departure, focusing on the generative relationship between space and specific emotional states. His recent work centers on the office as a highly systematized and regulated environment. Within this context, he approaches melancholy as a state of misalignment produced by rational structures, where action is suppressed, while thought and emotion are amplified and continue to operate. Drawing from literature, tragedy, and cultural history, he traces how such emotional frameworks recur across historical moments and how they are re-experienced within contemporary settings.
Working primarily with sculpture and installation, Ye employs materials such as stone, leather, and metal, each imbued with dual cultural associations and sensory resonance. His works articulate the persistent tension between control and affect. His solo exhibitions include: La Bile Noire, Beaux-Arts de Paris, Paris, 2025; The Blue Flower, Beaux-Arts de Nantes Saint-Nazaire, Nantes, 2022. Group exhibitions include: Felicità 2025, Palais des arts, Paris, 2025; Entre sans sonner, Crous galerie, Paris, 2025; La Dernière Mode, Agence de Voyage, Paris, 2025; Crush, Cour vitrée des Beaux-Arts de Paris, Paris, 2025; Il n’y a pas d’infini, tout est parcelle, 60 Adada, Saint-Denis, 2023; No fishing, Beaux-Arts de Paris, Paris, 2023.
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