1 June, 2026

SUAVEART is delighted to announce that Rhizomatic Echoes will be on view at TAI ART SPACE, Yuanxiang Lake Park, Shanghai from June 6 to July 12, 2026. The exhibition will officially open at 3:00 PM on June 6.
Bringing together artists from diverse countries and regions, the biennale presents works across a wide range of media that respond to the profound connections between trees, land, and ecology. Through these artistic explorations, the exhibition fosters a transregional dialogue on life, memory, and the future, inviting audiences to reflect on the intricate relationships that bind humans and the more-than-human world.

As a satellite exhibition of the If Trees Could Talk Biennale, this edition—Rhizomatic Echoes, co-curated by Yipei Lee and Jill Zheng—seeks to step away from a centralised and anthropocentric worldview and to inspire rhizomatic thinking, prompting us to consider how knowledge is constructed, how modes of production change, how sensory experiences are expanded, and how our coexistence with all things might be re-understood when we recognise trees as complex, living beings that exercise their own agency, navigating a unique umwelt through the specific affordances of their environment. 

Composed of these dual vectors, Rhizomatic Echoes operates as both a downward excavation and an outward attunement. The ‘rhizomatic’ aspect delves beneath the surface, tracing the intricate, subterranean fabrics of more-than-human existence that span deep time; the ‘echoes’, conversely, listen outward, capturing the resonance of all things amidst planetary rhythms, interspecies communication, and urban noise. Collectively, the exhibition anchors itself around three conceptual axes: ecological entanglement, the material textures of more-than-human entities, and the dynamics of interspecies acoustics and translation—ultimately opening up alternative pathways into a more-than-human world.

Moving past the traditional human-nature dichotomy, Ding Ling’s film, Timely Rain and Useless Tree, meditates on the radical incommunicability of language by featuring a Middle Chinese oral recitation of the excerpt from Zhuangzi’s Xiao Yao You (Carefree Wandering), leveraging the detached stance of the ‘useless tree’ to deconstruct anthropocentric matrix of utility. 

Shifting toward a slower, ancestral temporality, Hoho Kuo’s painting series, Hail to the Tree, captures the enduring spirit of the centuries-old tree from the ancient temple in Anyang, and translates ancient Chinese devotion into a contemporary realisation of the human body as inextricably woven into a more-than-human continuum. 

Scaling this entanglement to a planetary dimension, Jill Zheng’s visual poetry triptych—Qi-pulse, metabolic breath, and bronchial branching—reimagines tree evapotranspiration as an active, breathing circulatory system. The work traces how the vegetal ‘aromatic anchors’ generate the invisible ‘flying river’ that drives global lifecycles, as well as collapses the planetary into the intimate, transforming our ‘brittle, skin-bound’ bodies into an open network where human lungs echo the ‘ramified sprawl’ of the forest.

Shifting from planetary entanglement to tactile immediacy, the following works tune into the delicate bodies of non-human entities, listening closely to the granular whispers of material mediums.

Grounded in the physical contours of the wood’s organic grain, Shen Yi’s camphor wood sculpture, The Sound of the Flute Drifted All Summer, unfolds as an act of mutual attunement as the artist’s chisel marks trace and yield to the tree’s annual rings and respiratory grooves. Zhang Yuqing’s Branch in a Temple (II) and Evernia Prunastri in the Rain focuses on lichens—the symbiotic assemblages of algae and fungi—exploring their material reality as ‘a painting hung on the world…penetrating the wall, held (back) by a single, slender point of attachment: the rhizine’. 

In Wenli Li’s mixed-media installation,Cultivation Plot, the industrial debris of an abandoned factory—cement powder, rust, and iron filings—is reconstituted into a historically charged ‘visualized soil’ where germinating seeds and live moss transform a cold industrial relic into a site of active multi-species reclamation and metabolic drift. Meanwhile, by alienating the once-solid memory of the forest onto fragile stamp paper, Aliansyah Caniago’s All That is Solid Melts into Air: National Heritage 3 powerfully reflects on how geopolitical and historical legacies are dispersed and reshaped through the flow of materials.

In its final conceptual resonance, Rhizomatic Echoes turns to interspecies acoustics and digital translation, utilising algorithms, interactive sensors, and field recordings to transmute invisible biological frequencies into direct, embodied experiences. By employing real-time algorithmic tracking to translate the biological trajectories of slime mould into sound-synthesizing wave data, Sun Fangzheng’s multimedia video installation, Whispers of the Shoggoth Scions, actively disrupts human-centric communication paradigms to grant a heterogeneous species an autonomous voice.

In Between Root and Noise: Tracing the Entangled, Mesha Gunady extends her sensory apparatus toward the Jakarta mangrove ecosystems thriving in the cracks of urban concrete, making the sonic tensions between vegetal micro-rhythms and relentless urban expansion palpably audible. Yipei Lee’s lightbox and sonic work, Oasis Resonance, utilises sensors to harvest data from key indigenous plants of northern Chile’s Atacama Desert—such as the Chañar tree, pingo-pingo, and San Pedro cactus—translating these biological metrics into an ecological soundscape that invites humans to intimately experience the plants’ tense yet humorous interactions under conditions of limited water resources. 

Bringing this sonic loop to a close, Jacob Charles’s interactive sound sculpture, Shadow / Echo: Breathing Stone, marshals branches, sensors, and microphones to establish a responsive micro-environment that absorbs the tactile interventions of the audience and translates them into a space-altering loop of acoustic vibrations, which mirrors the continuous energy exchanges of trees.

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Public Programmes: From Static Contemplation to Embodied Practice
To further translate the symbiotic networks mapped by the exhibition into tangible, lived realities, a series of events has been curated as an extension of our sensory framework. Through opening performances and multi-dimensional sensory workshops, the boundaries between language and body, human and matter, begin to dissolve. As we listen, observe, smell, touch, and write, the human body becomes an ecological antenna, generating a complete circuit from sensory input to somatic resonance. 

Exhibition info
Exhibition: Rhizomatic Echoes, Independently organized by SUAVEART. Satellite Exhibition of the If Trees Could Talk International Biennale
Exhibition date: 6 June – 12 July, 2026
Opening: 6 June 2026, 15PM
Venue: TAI ART SPACE · Yuanxiang Lake Park, Shanghai

Curators: Yipei Lee, Jill Zheng
Artists: Aliansyah Caniago, DING LING (丁澪), Hoho Kuo (郭后), Jacob Charles, Jill Zheng、Yipei Lee、Wenli Li (李文莉)、Mesha Gunady、Shen Yi (沈藝)、Sun Fangzheng (孫方正)、Zhang Yuqing (張鈺卿)

Organized by: SUAVEART, TAI ART SPACE · Yuanxiang Lake Park, Shanghai
Supporting Organizations: If Trees Could Talk International Biennale,  Artflow District
Media Partners: Shanghai Jiading District Media Integration Center, Bund Art Center (BAC) Art Platform, ArtOnTime Platform
Community Partners: Imagining Sisyphus Happy, Feihe Studio, Insular City Zine, Art SEA (Southeast Asian Art Times)

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2026年6月1日

細着藝術很高興地宣布，《林音・根韵》如果樹會說話 國際藝術雙年展，將於2026年6月6日至7月12日在泰當代·湖畔藝術空間展出。來自不同國家與地區的藝術家將以多元媒介回應樹木、土地與生態之間的深層連結，共同展開一場關於生命、記憶與未來的跨地域對話。

作為菲律賓雙年展「如果樹會說話」(If Trees Could Talk) 的衛星展，《林音・根韵》在上海的平行時空中延續這場不止於人類 (more-than-human) 生命感知的對話。本衛星展以「音」與「韵」為觸角響應「如果樹會說話」的想像，嘗試鬆動長年以來以人類為中心的感知框架，轉向一種更開放的「根莖式思維」，一種沒有單一中心、沒有固定邊界，而是不斷延展、交織與滲透的存在狀態。在這樣的視角中，樹木不再是自然景觀或資源，而是具有自身時間尺度、感知能力與回應機制的生命主體，與土壤、真菌、微生物、氣候與人類共同構成一個動態共生的網絡。

「根韵」意在向下探尋深埋於地表之下、跨越深層時間、錯綜複雜的非人類生命織體 ；「林音」則是向外傾聽，捕捉萬物在行星律動、跨物種溝通與都市噪音中的共振。展覽關注萬物共生長的生態網絡、非人類生命的物質紋理與跨物種的聲學與轉譯，向觀眾敞開通往非人類視角的通道。透過詩歌、視覺、聲音藝術、感測裝置、互動媒體與行為表演，展覽嘗試講觀眾暫時脫離日常節奏，進入一種重新校準感官的狀態，不僅僅是由他人視角觀看自然，而是重新意識到自身始終身處於自然之中，並嘗試與其共振。

從古老哲學的解構思辨到行星規模的宏大敘事，藝術家們試圖打破了「人類為主體，自然為客體」的傳統二元對立，將人與萬物視為相互交織、不可分割的「生態纏繞」(Ecological Entanglement)，從而顯化「樹」在其自身深邃的時間、空間尺度中的內在能動性 (agency)。丁澪的錄像作品《及時雨與無用之木》透過節選《逍遙遊》文段以中古漢語口述，在探索溝通之不可達成的同時，藉由大樹「無所可用」的超然佇立，解構了人類以功利效用為主導的工具性評判體系。

郭后的壓克力繪畫系列《表揚一棵樹》則轉向更悠長的深層時間尺度，透過寫意描繪安陽古寺的百年古樹，捕捉樹木所蘊含的永恆性與精神性，將東方傳統信仰中對天地與祖靈的敬畏，轉化為人類作為深深嵌合於此種共生纏繞的生命體認中。

Jill Zheng 的視覺詩歌三聯作《化息》、《氣脈》、《肺絡之椏》，將這一網絡推向行星氣候與親密肉身之間的鏡像共振。作品譜寫出樹木如何透過「木質部之氣」與「芳香之錨」孕育無形的「飛河」，牽動全球新陳代謝的宏大敘事，並最終折返至人類「脆弱、受肌膚所束縛」的肉身，使肺葉與森林在呼吸的開放網絡中彼此繁衍、達成共鳴。

在廣袤的生態眾生相纏繞中沉潛，以下幾件作品則關注細膩的非人類身體，傾聽物質媒介自身的微觀「物性低語」。

沈藝的香樟木雕《笛聲吹了一夏天》順應樟木天然的生長紋理展開雕鑿，藝術家的刀法痕跡與樹木年輪、呼吸的印記達成內在的傾聽與順應；張鈺卿的《聖所中的一根樹枝(二)》聚焦於隱秘的藻菌共生質體——地衣，在材質中探討第一作為「一幅懸掛在世界上的畫作」的生命物質性。

李文莉的綜合材料裝置《種植計畫》則將鋼廠廢墟中的水泥粉末、鐵鏽泥土與塵埃等重建為一種帶有歷史刺痛感的「視覺化土壤」，並在其中置入苔蘚與種子，藉由展期內種子的破土與生長，將冰冷的工業遺存轉化為非人類生命持續代謝、主動復甦的流動現場。阿里安山・卡尼阿哥 (Aliansyah Caniago) 的《一切堅固之物都煙消雲散：國家遺產系列》則選擇以郵票紙進行數位印製，將原本堅固的殖民前樟樹森林記憶異化為即重要又輕薄的紙質載體，折射出地緣政治與歷史遺產在材質流動中的消散與重塑。

向外傾聽的「林音」餘韻最後交會於跨物種的聲學與數位轉譯，藝術家們藉助演算法技術、感測器與影像錄音等多媒體，將隱形的生命頻率與環境迴響轉化為可被身體直接感知的經驗。孫方正的多媒體錄像裝置《修格斯末裔的低語》利用演算法技術即時追蹤黏菌的生長軌跡，並將其轉譯為控制聲音合成的波形數據，以此挑戰人類中心固有的主導溝通形態，賦予異質物種發聲的自主性 。

邱美莎 (Mesha Gunady) 的視聽作品《根與噪之間：追索糾纏》則將感官觸角伸向城市水泥縫隙中的​​雅加達紅樹林生態系統，使自然的微細節奏與城市擴張的緊張關係在聲景的無形糾纏中被直接聆聽；李依佩的《綠洲之音》燈箱與音樂作品，利用傳感器偵測採集智利北部阿塔卡馬沙漠中重要的的原住民植物，如南美沙漠豆樹(Chañar)、安地斯麻黃 (pingo-pingo)、聖佩德羅仙人掌 (San Pedro Catus) 等資料進行生態聲景轉譯，使人類近一步感受植物在自然水資源有限下、既緊張又幽默的交互狀態。

雅各布・查爾斯 (Jacob Charles) 以樹枝、感測器與麥克風構建的動態交互雕塑《林影迴 / 響：呼吸石》，在展廳內部創造出了一個獨特的微環境。正猶如樹木在自然中不間斷地與外界交換能量，該雕塑在互動中全然吸收著觀眾的觸碰與介入，同時又將這種身體遭遇轉化為聲學振動反向投射，實時形塑並影響著周圍的環境，在有形的共振中完成了非人類主體的生態應答。

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公共教育工作坊資訊
為了將展覽所建構的生態共生網絡進一步轉化為可觸、可感、可身體力行的日常現實，本次展覽特別策劃了一系列表演與工作坊。透過藝術家的多元實踐與公眾參與，本展試圖建構一個跨越物種與文化邊界的感知場域，使觀眾重新思考人類在生態網絡中的位置，並想像一種建立於互依、回應與共存之上的未來關係。

展覽資訊
展名：《林音・根韵》細着藝術獨立策劃。如果樹會說話 國際藝術雙年展
展期：2026年6月6日 – 7月12日
開幕時間：2026年6月6日 (週六) 下午三點
地點：泰當代·湖畔藝術空間｜上海嘉定區遠香湖公園

策展人：李依佩、Jill Zheng
藝術家：阿里安山．卡尼阿哥 (Aliansyah Caniago)、丁澪、郭後、雅各布・查爾斯 (Jacob Charles)、Jill Zheng、李依佩、李文莉、邱美莎 (Mesha Gunady)、沈藝、孫方正、張鈺卿

主辦單位：細着藝術 SUAVEART、泰當代·湖畔藝術空間
支持單位：If Trees Could Talk Internatioanl Biennale、藝河灣藝術區
媒體支持：上海嘉定區融媒體中心、外灘藝術中心 BAC 藝術平台、ArtOnTime 平台
社群連結：Imagining Sisyphus Happy、非和工作室、島嶼城誌、東南亞藝術時光 Art SEA