今天“山水”有用吗？
Is "Shan Shui" Useful Today?
「泛山水」第二期
“Beyond Shan Shui” Term II
躬。山水
艺术家
Artists
马梓暚（Liane Mah）
Dan Farberoff （老丹）
2026.6.4-9.30
如何参访PARC
欢迎大家预约参访展览，请通过扫描下方二维码或添加微信：wan630514250 进行观展预约（建议提前2-3天联络预约）。
PARC杭州·西湖为非公共开放空间，位于杭州东山弄小区内，仅提供预约参访（具体地址将在预约成功后告知）。因我们空间及人力有限，如未能成功预约，敬请谅解。
How to Visit PARC
Welcome to the exhibition by appointment. Please scan the QR code below or add WeChat: wan630514250 to make a reservation (we recommend contacting us 2-3 days in advance).
PARC Hangzhou·West Lake is a private space located within the Dongshan Nong Community in Hangzhou and is open by appointment only (The specific address will be provided upon successful booking). Due to limited space and capacity, please understand if we are unable to accommodate your reservation.
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引言：
中国传统的“天人合一”和由外传来的当代“具身生态学”（Embodied Ecology）理念有着天然的共鸣。
“天人合一”是中国哲学的核心思想，字面意思是“天”与“人”并非主客对立的双方，而是同源、同构且互通的生命整体。
“具身生态学”的核心在于打破「身心二元」及「人与自然分离」的传统观念，强调人的身体、心智与所处的生态环境是紧密相连、无法分割的整体。具身生态学作为一个跨领域的思想框架与视角，在越来越多的学科获得诠释，例如：认知科学与哲学、 生态学与可持续性、人类学与社会科学、人工智能与技术哲学等等。
来自香港的艺术家马梓暚与常驻柏林的艺术家Dan Farberoff（老丹）来到PARC杭州·西湖驻留。 在西湖山水之间， 他们以舞动身体作为方式进行了创作和分享。这成为了“天人合一“与“具身生态学”的相遇和共振的绝佳案例。
——Alice 陈（ 正向艺术研究会）
There is a natural resonance between the traditional Chinese philosophy of the “Harmony Between Humanity and Nature” (tian ren he yi) and the contemporary concept of “Embodied Ecology”, originating beyond the Chinese context.
The “Harmony Between Humanity and Nature" is a core concept of Chinese philosophy, representing the understanding that "nature" and "humanity" are not opposing subjects and objects, but are interconnected expressions of a shared, living whole.
Embodied Ecology likewise challenges the dualisms of mind and body, and of humans and nature. It understands the body, the mind, and the ecological environment not as separate entities, but as an inseparable and mutually constitutive whole. As an interdisciplinary framework and perspective, Embodied Ecology has increasingly informed fields such as cognitive science and philosophy, ecology and sustainability, anthropology and the social sciences, as well as artificial intelligence and the philosophy of technology.
During their residency at PARC Hangzhou·West Lake, Hong Kong artist Liane Mah andBerlin-based artist Dan Farberoff explored West Lake through embodied, movement-based practice and sharing. Their work brought the Chinese philosophy of "Harmony Between Humanity and Nature" into dialogue with the contemporary discourse of "Embodied Ecology". This project offers an excellent example of the encounter and resonance between these two perspectives.
Alice Chen (Positive Art Research Center)
PARC展陈：“躬。山水”。2026年6月4日-9月30日。摄影：Alice 陈。PARC Exhibition View: 躬。山水. 4 June-30 September 2026. PHOTO: Alice Chen.
正向艺术研究会（正艺会）很荣幸能邀请跨学科艺术家马梓暚与 Dan Farberoff（老丹）于2026年5月至6月驻留PARC杭州·西湖，参与由艺术家 Alice 陈发起与策划的长期艺术项目“今天‘山水’有用吗？”「泛山水」第二期的实践创作。两位艺术家以身体作为进入山水的媒介，通过具身化的实践重新思考人与环境之间的关系，并回应中国传统山水哲学与山水艺术在当代语境中的意义。
The Positive Art Research Center (PARC) was honored to invite interdisciplinary artists Liane Mah and Dan Farberoff to participate in Term II of “Beyond Shan Shui”, part of the long-term art project Is “Shan Shui” Useful Today?, initiated and curated by artist Alice Chen, The residency took place from May to June 2026 at PARC Hangzhou·West Lake.
The two artists use their bodies as a medium to enter the landscape, rethinking the relationship between people and the environment through embodied practice, and responding to the significance of traditional Chinese Shan Shui philosophy and the art of Shan Shui in the contemporary context.
PARC展陈：“躬。山水”。2026年6月4日-9月30日。摄影：Alice 陈。PARC Exhibition View: 躬。山水. 4 June-30 September 2026. PHOTO: Alice Chen.
在此项目中，艺术家马梓暚与艺术家Dan Farberoff （老丹）首次以组合的形式展开正式合作。两人的研究聚焦于“具身生态学”（Embodied Ecology），在这探索的过程中，他们通过舞动身体的方式，关注“成为 Umwelt”的过程（马梓暚，2023，“成为Umwelt”。原为提交于舒马赫学院（Schumacher College）中“运动、心智与生态”（MA Movement, Mind, Ecology）硕士课程第三模块“调解边界”（Mediating Boundaries）的课程项目）。其中引用了生物学家雅各布·冯·乌克斯库尔（Jakob von Uexküll）的“主体环境（Umwelt）”理论，该理论将环境视为一个由主体感知所建构的世界。“成为Umwelt”并非只是意味着“与环境融为一体”，而是一个具身的过程。在这一过程中，人们不再将其他生命视为外在的对象，而是逐渐进入一个共享意义的关系场域，在深层的关系性调谐中，自我与他者彼此影响、相互转化。通过这一过程，参与者逐步与不同形式的生命建立起感知性的联系，使主体与客体之间原本清晰的边界渐渐变得柔软。身体也由此不再作为置身事外的观察者，而是重新作为生态场域中的积极参与者进入世界。
"躬。山水" also marked the first formal collaboration between Liane Mah and Dan Farberoff as an artist duo. Their research focused onthe practice of Embodied Ecology, and within this exploration, an inquiry into the process of Becoming Umwelt, (Liane Mah, 2023, “Becoming Umwelt”. Originally submitted for MA Movement, Mind, Ecology, Module 3 “Mediating Boundaries” at Schumacher College). Referencing biologist Jakob von Uexküll’sUmwelt theory of environment as a subjective, perceptual world, Becoming Umwelt does not refer simply to an intention of "becoming one with the environment." Rather, it is an embodied process of moving beyond perceiving another being as an external object to inhabiting a shared field of meaning, where self and other become mutually transformed through deep relational attunement. Through this process, participants gradually establish perceptual relationships with diverse forms of life, allowing the boundary between subject and object to soften. The body re-enters the world not as an external observer, but as an active participant within the ecological field.
PARC展陈：“躬。山水”。2026年6月4日-9月30日。摄影：Alice 陈、李育婵。PARC Exhibition View: 躬。山水. 4 June-30 September 2026. PHOTO: Alice Chen, LI Yuchan.
6月4日，两位艺术家于 PARC杭州·西湖及杭州植物园周边开展了“躬。山水”分享会与表演性导览（Performative Tour），并在PARC杭州·西湖空间中呈现驻留期间围绕“山水”展开的具身实践，以及创作、收集的材料、户外表演的道具和创作过程中留下的痕迹。
展览中的影像作品植根于“生态体感”（Ecosomatic）的视角，运用了“接触即兴”（Contact Improvisation）与“真实动作”（Authentic Movement）在特定场域（Site-specific）展开具身实践创作。在两位艺术家看来，接触即兴是一种当代舞蹈的形式，舞伴们利用共享的重量、触碰和动量，共同创造出自发的、无剧本的动作，它不仅仅是一种人与人之间建立连接的肉身实践。它还可以提供一种重新理解关系的方式。当身体学会倾听、回应与协商，这种关系便不再局限于人与人之间，而是延伸至人与其他生命形式的互动。
On 4 June, the two artists presented "躬。 山水", a sharing and performative tour around PARC Hangzhou·West Lake and the Hangzhou Botanical Garden. At PARC Hangzhou·West Lake space, they also exhibited the embodied practices developed throughout the residency in response to "Shan Shui", together with artworks, collected materials, props for performative tour, and traces of the creative process.
The video works in the exhibition are largely grounded in an ecosomatic, site-specific application of embodied practices such as Contact Improvisation and Authentic Movement. In the two artists' view, Contact Improvisation, a contemporary dance form where partners use shared weight, touch, and momentum to create spontaneous, unscripted movement together, is more than just an embodied practice through which people can establish physical connections with one another. It can also offer a way of rethinking relationships themselves. As the body learns to listen, respond, and negotiate, these relational capacities extend beyond human interactions, opening up new possibilities for engaging with other forms of life.
PARC展陈：马梓暚和老丹，《鹅软石、树、泡泡》，2026. 影像（单频，彩色，有声）；11分16秒。摄影：李育婵。
PARC Exhibition View：Liane Mah and Dan Farberoff, Pebble Tree Bubble, 2026. Video (single channel, color, with sound); 11' 16''. PHOTO: LI Yuchan.
PARC展陈：“躬。山水”。2026年6月4日-9月30日。摄影：李育婵。
PARC Exhibition View: 躬。山水. 4 June-30 September 2026. PHOTO: LI Yuchan.
PARC展陈：马梓暚，《梓暚与弯树》，2026. 影像（4K单频，彩色，有声）；14分49秒。摄影：Alice 陈。
PARC Exhibition View：Liane Mah, Liane on Curved Tree, 2026. Video (4K single channel, color, with sound); 15' 13''. PHOTO: Alice Chen.
在这样的视角下，身体不再是独立于世界之外的观察者，而是在持续的接触、感知与共处中，与周围环境相互影响、共同生成。通过这些具身实践，艺术家们尝试突破以人类为中心的观看方式，转而关注不同生命如何彼此感知、相互回应，并在持续的接触与共处中形成新的关系网络。
除了影像作品外，展览中的书法、摄影及其他物件，同样源自两位艺术家在驻留期间持续展开的探索。进门之后，首先映入眼帘的是由树枝与细线编结而成的“山水”二字。质朴而自然的材质，为整个空间奠定了基调，也将观者缓缓引入作品所营造的意境之中。
From this perspective, the body is no longer understood as an autonomous subject existing apart from the world, but as something continually shaped through its reciprocal exchanges with the surrounding environment. Through embodied practice, the artists seek to move beyond an anthropocentric mode of perception, instead exploring how different forms of life sense one another, respond to one another, and gradually cultivate new relational networks through ongoing contact and co-existence.
In addition to the video works, the exhibition also presented calligraphy, photography, and other objects that emerged from the artists' ongoing explorations throughout the residency. Upon entering the exhibition, visitors were first greeted by the two Chinese characters, "Shan Shui (山水)", delicately constructed from twigs and thread. Their raw, natural materiality set the vibe for the exhibition, gently drawing viewers into the space that the artists had created.
PARC展陈：“躬。山水”。2026年6月4日-9月30日。摄影：Alice陈、李育婵。 PARC Exhibition View: 躬。山水. 4 June-30 September 2026. PHOTO: Alice Chen, LI Yuchan.
空间两侧墙面展出了艺术家马梓暚于驻留期间创作的书法作品“雾锁山头山锁雾，天连水尾水连天”。这副回文联源自福建厦门鼓浪屿，由一位参加梓暚为当地社区举办的关于“山水”接触即兴活动的参与者分享。这副对联成为引导观众在整个展览中体验山水意境的线索。
Displayed on the two side walls of the exhibition were calligraphic works created by Liane Mah during the residency. It's a palindrome couplet: “Fog encloses the mountain, and the mountain encloses the fog; the sky connects the water, and the water connects the sky (雾锁山头山锁雾，天连水尾水连天)”. Originating from Gulangyu Island in Xiamen, Fujian, the couplet was shared bya participant who attended a contact improvisation jam that Liane facilitated on the embodiment of “Shan Shui” for the local community. The couplet became a clue for inviting viewers to experience shan shui throughout the exhibition.
PARC展陈：“躬。山水”。2026年6月4日-9月30日。摄影：李育婵和Alice陈。 PARC Exhibition View: 躬。山水. 4 June-30 September 2026. PHOTO: LI Yuchan and Alice Chen.
展览同时保留了6月4日表演性导览中使用的部分道具。其中，一件由树枝与鱼线组成的文字装置，以汉字呈现出“浸足凉水，如故友来”这句话。在他们的表演过程中，艺术家们将装置轻轻放入溪流之中，并以鱼线牵引，让其顺着水流缓缓向远处漂去。
表演性导览结束后他们回收了这件装置并带回空间，悬挂于艺术家以新近砍伐的竹子和绳子捆绑而成的简易框架之上。这个手工制作的竹框同样也是当天表演性导览中使用的道具，它作为一个临时生成的取景器（观看装置），微妙地改变了观众的观看方式。
The exhibition also preserved several props used during the performative tour on 4 June. Among them was a text-based installation constructed from twigs and fishing line, spelling out in Chinese characters the phrase: "浸足凉水 如故友来" ("Dipping one's feet in cool water is like saying hello to an old friend"). During their performance, the artists gently unrolled the installation into the stream and, using the fishing line to guide it, allowed it to drift slowly downstream.
After the performance tour, the artists brought the installation back to the exhibition space and suspended it within a simple bamboo frame. Constructed from lengths of freshly cut bamboo lashed together with rope, this hand-crafted bamboo frame was also used during the performative tour as a temporary viewing device to subtly shift the audience's way of seeing.
PARC展陈：“躬。山水”。2026年6月4日-9月30日。摄影：Alice陈。PARC Exhibition View: 躬。山水. 4 June-30 September 2026. PHOTO: Alice Chen.
6月4日户外表演性导览的部分片段。
Excerpt from the outdoor performative tour on June 4.
以下是其它相关阅读链接：
The following are other related reading links:
Exhibition | “Beyond Shan Shui” Term II: "躬。 山水" Performative Tour and Sharing
分享｜「泛山水」第二期：躬。山水，两位艺术家的创作笔记《思躬。山水》
Sharing | "Beyond Shan Shui"Term Il:"躬。 山水", Artist's Notebook "Musings on 躬。山水"
部分作品
Selected works
《梓暚与弯树》
Liane on Curved Tree
影像（单频4k、颜色、有声）；14’49’’
表演：马梓暚，视频：老丹
Video (signal channel 4K, color, with sound); 14’49’’
Performance: Liane Mah; Video: Dan Farberoff
作品片段（截取于原视频前3分钟）
Video excerpt (first 3 minutes of the original work)
《老丹，桥》
Dan on Bridge
影像（单频4k、颜色、有声）；4’05’’
表演：老丹，视频：老丹
Video (signal channel 4K, color, with sound); 4’05’’
Performance: Dan Farberoff; Video: Dan Farberoff
作品片段（截取于原视频前3分钟）
Video excerpt (first 3 minutes of the original work)
《梓暚与古银杏·真实》
Liane Ancient Ginko Authentic
影像（单频4k、颜色、有声）；6’25’’
表演：马梓暚，视频：老丹
Video (signal channel 4K, color, with sound); 6’25’’
Performance: Liane Mah; Video: Dan Farberoff
作品片段（截取于原视频前3分钟）
Video excerpt (first 3 minutes of the original work)
《梓暚与三叉树》
Liane on Trident Tree
影像（单频4K、颜色、有声）；10’47’’
表演：马梓暚，视频：老丹
Video (signal channel 4K, color, with sound); 10’47’’
Performance: Liane Mah; Video: Dan Farberoff
作品片段（截取于原视频4分钟至7分钟）
Video excerpt (from 4 minutes to 7 minutes of the original work)
《平台即兴》
Platform Jam Full
影像（单频4K、颜色、有声）；26’08’’
表演：马梓暚和老丹，视频：老丹
Video (signal channel 4K, color, with sound); 26’08’’
Performance: Liane Mah and Dan Farberoff; Video: Dan Farberoff
作品片段（截取于原视频12分钟至15分钟）
Video excerpt (from 12 minutes to 15 minutes of the original work)
艺术家介绍
About Artists
马梓暚（Liane Mah，1993年生于香港）与Dan Farberoff（老丹，1970年生于哥伦比亚）的跨学科协作，交织了视觉艺术、动态影像、摄影、舞蹈、创意写作、永续农艺、深层生态学。他们通过对“具身性”和“生态实践”交汇点的共同探索，研究了身体、感知和环境之间的关系。
马梓暚是香港「一宁。小院」（Ning'sYard）的创办人，「一宁。小院」是香港一处結合身体艺术的身心灵社区靜修中心——這个空间是她运用朴门原则与自然材料所设计的。自 2015 年以來，她已在香港、中国大陆（杭州、武汉、上海）以及台湾各地带领过肢体与自然教育的靜修課程与工作坊。这些年來，她曾参与肢体剧场与在地特定场域的演出，也合作过舞蹈电影计划，例如《月亮上的女子》, 香港（2022）、《泡泡三千》, 香港（2022）、《在场中的戏剧》, 香港（2022）、《寻找大象》，香港（2022）。
Dan Farberoff是一位跨国界、跨学科的艺术家，致力于探索媒介化下的物理与数字存在。他的作品曾多次在国际舞台上展出，包括第15届卡塞尔文献展（德国卡塞尔）、金刚自然艺术双年展（韩国）、FIPA（法国比亚里茨）、2012年奥运会（英国伦敦）、2010年上海世博会（中国）等。
他的创作涵盖了纯艺术、新媒体、交互技术、现场呈现与运动艺术、公共空间干预以及参与式艺术行动等多种形式。其作品核心议题聚焦于意识与“具身性”（embodiment）、社会-生态关怀，以及与自然和场域之间愈发深层的连接。这些创作深深植根于他丰富的实践背景，涵盖了数字艺术、动作与身体表演、身心学（somatics）实践、冥想与意识探索，以及朴门永续设计（permaculture）与深层生态学。
Liane Mah (b.1993, Hong Kong) and Dan Farberoff's (b.1970, Colombia) interdisciplinary collaboration weaves together visual arts, moving image, photography, dance, creative writing, permaculture and deep ecology, investigating the relationship between body, perception, and environment, through their shared explorations at the intersection of embodiment and ecological practice.
Liane is a steward and founder of Ning’s Yard, a holistic community retreat center for the embodied arts in Hong Kong since 2020 - a space which she has designed using permaculture principles and natural materials. She has facilitated movement and nature education retreats and workshops across Hong Kong, China (Hangzhou, Wuhan, Shanghai), and Taiwan since 2015. Over the years, she has performed in physical theater and site-specific performances, as well collaborated in dance film projects such as “A Woman On The Moon”, Hong Kong (2022), “Like A Bubble, Like A Dream”, Hong Kong (2022), “A Play in Presence”, Hong Kong (2022), “Life with Elephant” Hong Kong (2022).
Dan is a multinational, interdisciplinary artist working in mediated physical and digital presence. His art has been shown internationally, including at the 2022 Documenta 15 in Kassel (DE), the 2018 Geumgang Nature Art Biennale (KR), the 2012 London Olympics (UK), and the 2010 Shanghai EXPO (CN), among others.
His work encompasses fine art, new-media, interactive technology, live presence and movement art, interventions in public space and participatory art actions. The central themes touch on issues of consciousness and embodiment, social-ecological concerns, and a deepening connection to nature and to place, drawing on his extensive background in digital arts practice, movement, performance and somatics practice, meditation and consciousness explorations, as well as in permaculture and deep-ecology.
文字写作：张奕颖（正向艺术研究会）
图文排版：张奕颖（正向艺术研究会）
审阅校对： 马梓暚和 Dan Farberoff
