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# Fang Lu

Artist Website

## Sitemaps

- [XML Sitemap](https://www.fanglu.net/sitemap.xml): Contains all public & indexable URLs for this website.

## Posts

- [Tate Research Centre-Asia: Fang Lu and Monica Merlin](https://www.fanglu.net/tate-research-centre-asia-fang-lu-and-monica-merlin/) - Working in moving image, Fang Lu (born 1981) is inspired by popular culture and daily life experience. Her work reveals a deep analysis of political, societal and gender constructs, while exploring the multiple relationships between life and spectacle.
- [非记录](https://www.fanglu.net/zh/unrecording-cn/) - 展览《非记录》从方璐的创作中选择了一些作品，从最早的录像之一“无名状态”到她近期的作品“肌肤”，来提供对艺术家创作和思考体系的一个初步印象。更重要的是，艺术家希望传达她对于录像的一个重要观念，那就是录像远远不仅是一种记录的工具。即使当录像机在拍摄所发生的一切时，它所记录的也未必是真实的，更不一定是纪实的。
- [做食](https://www.fanglu.net/zh/eclipse-cn/) - 通过《家务仪式》、《自动发生》以及其他与“食”有关的作品，我们看到了一种凸现录像艺术形式与艺术家工作方式关系的新方向，这一方向具有方法论上的意义。博尔赫斯书店艺术机构致力于发现和推荐的，也正是这种为数不多的能够进行整体叙述的艺术家的工作。 出于尊重作品之间的逻辑关系，我们给展览命名为“做食”，一个动词名词交叉混合的模糊结构，试图以此概括出方璐近期作品的基本元素和节奏。
- [恋人和艺术家 ](https://www.fanglu.net/zh/lover-and-artist-cn/) - 方璐最新展览探寻拥有爱情的个人和有创造力的个体之间，存在着意外的对应关系。方璐在艺门画廊的黄竹坑空间展出的三部式多媒体装置包括两件相关的录像作品，以及一件基于文本的LED装置新作。
- [无限感应](https://www.fanglu.net/zh/true-sense-cn/) - 展览呈现了她分别于德国柏林和以色列南部沙漠地区拍摄的《超月之秘密》、《寂静的海》，以及在北京拍摄的《没有世界》，三件影像作品。 方璐利用半区隔化的空间关系，使三件作品既独立又产生对话，将观者渐渐带入她源于现实又与之抽离的含混世界中。
- [任物者](https://www.fanglu.net/zh/gateway-wonder-cn/) - 方璐的最新个展“任物者”呈现出了一种罕见的自由，艺术家坦率的向观者吐露着自身的情绪，诸如沉思，兴奋，狂喜，或者幸福，这些细腻的心思又落实于心与物的连接之上，换言之，方璐为我们展示着内在的性灵世界与外在的物质世界间丰饶的沟通可能。
- [于须弥，我创造了你](https://www.fanglu.net/zh/somewhere-in-the-center-i-created-you-zh/) - 展览标题“于须弥，我创造了你”与艾瑞此次展出的绘画系列其中一组同名。须弥山为印度教、佛教等宇宙观中的世界中心，也是众神的居所。佛教的“须弥”呼应了犹太教中的“舍姬娜”（Shechina，也写作Shekhinah）——在犹太传统中，舍姬娜象征着女性的神格，也代表着能感受到神所在的某个地点或者时间。此次展出的影片《神舍》一名就取自舍姬娜。
- [Unrecording](https://www.fanglu.net/unrecording-2/) - Unrecording tries to give a modest review of the artist’s portfolio from one of her earliest films Untitled Beings (2001) to one of her latest Skin (2010). But more importantly, it’s the artist’s attempt to communicate her idea of video-making: that it is not always just about recording. Even though the camera is recording what is happening, it is not always realistic, even less documentary.
- [Eclipse](https://www.fanglu.net/eclipse-2/) - Beginning with a respect for the logical relation between these works, we have titled this exhibition “Zuo Shi,” exploiting the word (shi) hybrid and ambiguous cross between a noun and a verb, and attempting to summarize the basic elements and rhythms of Fang Lu’s recent works.
- [Amorous Acts](https://www.fanglu.net/amorous-acts-2/) - ... Amorous Acts draws explicit attention to the methods and means of its own making, namely an awareness of the camera and its conflicted role as both “objective” witness and a tool capable of manipulating emotions to elicit new forms of experience.
- [Lover and Artist](https://www.fanglu.net/lover-and-artist-2/) - As the title suggests, Fang’s latest exhibition explores the surprising symmetries that exist between an individual possessed by amorous feelings and a person compelled by creative impulses.Fang’s three-part multi-media installation at Pékin Fine Arts in Wong Chuk Hang includes two related video works and a new, text-based LED installation.
- [Lost Seconds](https://www.fanglu.net/lost-seconds/) - This exhibition features Fang's newest work Cinema and an earlier work from 2006, Bump ’n Grind. In her latest and exceptional work Cinema, Fang Lu explores in a meticulous yet un-dramatic — almost casual — way of how “the self” in our today’s life is a controlled and staged construction of oneself.
- [Somewhere in the Center, I Created You](https://www.fanglu.net/somewhere-in-the-center-i-created-you/) - The exhibition features the latest film Shechina (2025) by the two artists in Gallery I, and Kishon’s drawings, paintings and a furniture design Diamond Wave Chair (2025) in Gallery II on the second floor.
- [True Sense](https://www.fanglu.net/true-sense/) - Fang Lu’s second solo exhibition in Boers-Li Gallery, “True Sense”, opening on June 9th, 2016. The exhibition features her latest films produced in Berlin and the southern desert of Israel “The Secret of Supermoon” and “Sea of Silence”, along with “No World” filmed in Beijing.
- [Gateway Wonder](https://www.fanglu.net/gateway-wonder/) - Gateway Wonder serves as an emotional theatre, taking viewers away from the reality and attending the inner universe of the artist.
- [恋爱的人就是艺术家](https://www.fanglu.net/zh/amorous-acts-cn/) - 北京艺术家方璐的录像装置作品《恋爱的人就是艺术家》，用恋爱状态中产生的特异行为，把图像制作和拍摄的行动结合到一起 。箭厂空间的展览现场，碎屑四布的凌乱的空间中随意摆放着几部电视机，里面分别播放着艺术家用拍摄于胡同中的数千张照片制作成的四段幻灯片。
- [失秒](https://www.fanglu.net/zh/lost-seconds-cn/) - 在《影院》这件与众不同的近作中，方璐以一种既细腻，同时又非戏剧性的方式探索“自身”，用一种轻松的方法带出我们每天那既是被监控又在展演的生活场域。刚看上去彷如一个正常不过的个人排演，但再细看时，一个令人费解的肖像出现——那混杂着逗引、焦虑、自恋的当代环境下产生的女性人物。
- [Vision](https://www.fanglu.net/vision/) - Fang Lu and Arie Kishon, 2020, Single Chanel video installation, video length: 5 minutes and 40 seconds, 16:9, sound
- [浮仓 (之一)](https://www.fanglu.net/zh/浮仓一/) - 方璐和艾瑞，单频录像，13分钟，声音，2017
- [Tank (Part 1)](https://www.fanglu.net/tank-part-1-2/) - Tank (Part 1) 《浮仓》作品系列，旨在创造新的不拘于形式的冥想练习，以尝试获得更高意识。《浮仓之一》用香港这么一个密集都市环境的地方做隔离和平缓心灵的行动，让不同形式的意识得以显现。艺术家试验在城市中不停行走的同时，用耳机听着重复性的音乐——从而去设置一种不间断的关于现实的感受的框架。这些照片在行走的过程中拍摄，无止境的现实的运动被一帧帧照片切碎。在这里，所有物质性的或身体性的相遇都不再是现实的体现，它们成为了纯粹的感官数据。
- [烹饪诗](https://www.fanglu.net/zh/烹饪诗/) - 方璐与艾瑞 书法：林淑然 摄影、菜谱，诗歌、书法，2019-
- [神舍](https://www.fanglu.net/zh/神舍/) - 方璐 & 艾瑞， 单频高清影像，2025年，彩色，有声，中英文字幕，76 分钟
- [无名状态 (之二）](https://www.fanglu.net/zh/无名状态-之二）/) - 单频道录像，5'20", 声音, 4:3, 2001, 拍摄：Emi Fujita
- [无名状态（之三）](https://www.fanglu.net/zh/无名状态（之三）/) - 方璐，录像，2'37"， 无声，4:3, 2001
- [无名状态（之四)](https://www.fanglu.net/zh/无名状态（之四/) - 单频道录像，5'10", 声音，4:3, 2002, 拍摄：Anita Wong
- [枪戏](https://www.fanglu.net/zh/枪戏/) - 录像，7'50", 声音，4:3, 2003
- [甜蜜的梦](https://www.fanglu.net/zh/甜蜜的梦/) - 音乐录像，3'40", 声音，4:3, 2003， 音乐"甜蜜的梦", Eurythmics， 拍摄：林一林
- [密度](https://www.fanglu.net/zh/密度/) - 录像，4'30", 2004, 表演者: Paloma Barcellos, Guy Reziciner, 拍摄: Sebastien Boubil, 方璐
- [无后果的暴力](https://www.fanglu.net/zh/无后果的暴力/) - 行为录像，5'30", 2005
- [我的同学](https://www.fanglu.net/zh/我的同学/) - 14段影像, 音乐，4:3, 2005
- [五段叙事](https://www.fanglu.net/zh/五段叙事/) - 录像，9'20", 声音，4:3, 2005
- [金瓶梅](https://www.fanglu.net/zh/金瓶梅/) - 录像，15', 16:9, 声音，2005
- [食人咖啡厅](https://www.fanglu.net/zh/食人咖啡厅/) - 事件和录像，1小时，声音，4:3, 2006
- [直出香港](https://www.fanglu.net/zh/直出香港/) - "直出香港"音乐录像，1'48", 声音，4:3, 2006
- [撞](https://www.fanglu.net/zh/撞/) - 事件, 两频录像装置，7', 无声，4:3, 2006
- [Diva 电视](https://www.fanglu.net/zh/diva-电视/) - 10集电视剧，每集28'30"，声音，4:3, 2007
- [熊猫快递](https://www.fanglu.net/zh/熊猫快递/) - 录象装置，两频，3', 声音，4:3, 2007
- [颜色（之二）](https://www.fanglu.net/zh/颜色（之二）/) - 事件，五段录像，各5'，声音，4:3, 2007
- [颜色（之一）](https://www.fanglu.net/zh/颜色（之一）/) - 录像，2小时20分钟，声音, 4:3, 2007
- [新闻重演](https://www.fanglu.net/zh/新闻重演/) - 录像装置, 6频，2008
- [不谈政治](https://www.fanglu.net/zh/不谈政治/) - 录像，8'33"，两频，有声，16:9, 2008-2009
- [如何吃鸡蛋](https://www.fanglu.net/zh/如何吃鸡蛋/) - 录像，6频道，声音，4:3, 2009
- [完美生活指南](https://www.fanglu.net/zh/完美生活指南/) - 照片循环，2009-2010
- [家务仪式](https://www.fanglu.net/zh/家务仪式/) - 单频道录像, 11', 声音， 2009
- [肌肤](https://www.fanglu.net/zh/肌肤/) - 录像，10'24", 声音，16:9竖幅，2009
- [自动发生](https://www.fanglu.net/zh/自动发生/) - 录像装置，2频道，29'，有声，16:9, 2010
- [家庭](https://www.fanglu.net/zh/家/) - 录像，单频，7分钟，声音，16:9, 2011
- [腐朽](https://www.fanglu.net/zh/腐朽/) - 录像, 16', 有声，16:9, 2011
- [声弹](https://www.fanglu.net/zh/声弹/) - 录像，6'30"，有声，16:9, 2011
- [恋爱的人就是艺术家 (第二部)](https://www.fanglu.net/zh/恋爱的人就是艺术家-第二部/) - 录像，11'50", 声音，16:9，2012
- [恋爱的人就是艺术家(第一部)](https://www.fanglu.net/zh/恋爱的人就是艺术家第一部/) - 静帧录像，四频录像装置，无声，2012
- [情感的结构](https://www.fanglu.net/zh/情感的结构/) - 双频录像，15分钟, 2012
- [影院](https://www.fanglu.net/zh/影院/) - 录像装置，7频道，19'19”，有声，16:9, 2013
- [罗拉](https://www.fanglu.net/zh/罗拉/) - 两频录像或三频双语录像，有声，16:9, 2014
- [女朋友 （或“女总理”）](https://www.fanglu.net/zh/女朋友-（或女总理）/) - 三频录像装置，各频道58’42”, 16:9, 无声，2014
- [没有世界](https://www.fanglu.net/zh/没有世界/) - 单频录像，18'，有声，16:9, 2014
- [寂静的海](https://www.fanglu.net/zh/寂静的海/) - 单频录像，29’，或作为三频道录像播放, 各频道长度为 6’51”／9’28”/10’22”, 声音，2015年
- [超月之秘密](https://www.fanglu.net/zh/寂静的海-2/) - 单频道录像，48’45”, 声音，16:9, 2015
- [视野](https://www.fanglu.net/zh/视野/) - 方璐和艾瑞，2020年， 单频道录像装置，5分40秒，16:9, 有声
- [中国乐园](https://www.fanglu.net/zh/中国乐园/) - 单频道录像装置， 15’37”, 16:9, 有声, 中英文字幕, 2017
- [亚细亚的孤儿](https://www.fanglu.net/zh/亚细亚的孤儿/) - 音乐录像，7'29, 音乐：吹万
- [浮仓 （之二）](https://www.fanglu.net/zh/浮仓-（之二）/) - 方璐 & 艾瑞，双频道录像装置，13‘， 2018
- [广州新语](https://www.fanglu.net/zh/广州新语/) - 单频道录像，25分钟, 16:9, 2016，普通话和粤语对白，中英文字幕
- [移动物品剧场](https://www.fanglu.net/zh/移动物品剧场/) - 方璐和艾瑞，双频道录像装置，2018-2019
- [心动](https://www.fanglu.net/zh/心动/) - 方璐，单频录像装置 特制墙纸，2019 录像长度：8’40”，语言：普通话，中英文字幕
- [Untitled Being II](https://www.fanglu.net/untitled-being-ii/) - video, 5'20", sound, 4:3, 2001, Photography: Emi Fujita
- [Untitled Being III](https://www.fanglu.net/untitled-being-iii/) - video, 2'37", silent, 4:3, 2001
- [Gun Play](https://www.fanglu.net/gun-play/) - video, 7'50", 2003, Performed by Janine Slaker and Fang Lu, Camera and Sound by David More
- [Sweet Dreams](https://www.fanglu.net/sweet-dreams/) - Music Video, 3'40", sound, 4:3, 2003, Original Music "Sweet Dreams" by Eurythmics, Camera: Lin Yilin
- [Density](https://www.fanglu.net/density/) - Video, 4'30", 2004, Performers: Paloma Barcellos, Guy Reziciner. Camera: Sebastien Boubil and Fang Lu
- [Inconsequential Violence](https://www.fanglu.net/inconsequential-violence/) - Performance video, 5'50", 2005
- [My Classmates](https://www.fanglu.net/my-classmates/) - 14 dance videos, sound, 4:3, 2005
- [Five Narratives](https://www.fanglu.net/five-narratives/) - video, 9'20", sound, 4:3, 2005
- [Plum in the Golden Vase](https://www.fanglu.net/plum-in-the-golden-vase/) - video, 15', 16:9, sound, 2005
- [Cannibal Cafe](https://www.fanglu.net/cannibal-cafe/) - Event and Video, 1 hour, sound, 4:3, 2006
- [Straight Outta HK](https://www.fanglu.net/straight-outta-hk/) - Music video of "Straight Outta HK", 1'48", sound, 4:3, 2006
- [Bump'n Grind](https://www.fanglu.net/bumpn-grind/) - Event and Video, 7', 2 channels video installation, silent, 4:3, 2006
- [Color II](https://www.fanglu.net/color-ii/) - Event, Five videos, 5' each, sound，4:3，2007
- [How to Eat Eggs](https://www.fanglu.net/how-to-eat-eggs-heel/) - video, 6 channels, sound, 4:3, 2009
- [Girlfriends (or Women Prime Ministers)](https://www.fanglu.net/girlfriends-or-women-prime-ministers/) - three channel video installation, no sound, each 58’42”, 2014
- [Lovers Are Artists (Part 1): Amorous Acts](https://www.fanglu.net/lovers-are-artistspart-1-amorous-acts/) - video with still images, four channels video installation, silent, 2012
- [Structure of Sentiment](https://www.fanglu.net/structure-of-sentiment/) - Two Channels Video, 15 min, 2012
- [Orphan of Asia](https://www.fanglu.net/orphan-of-asia/) - Music video by Fang Lu, Music by Chui Wan, Starring: Zhang Juewen, Director of Cinematography: Arie Kishon, Camera: Guo Zhen, On-site Assistant: Zhang Zongxi, Guo, Xunbo, Produced by: Maybe Mars Record
- [Cooking Poetry](https://www.fanglu.net/cooking-poetry/) - Fang Lu and Arie Kishon, Calligraphy by Lin Shuran, Poetry, Recipes, Photography, Caligraphy, 2019
- [I Have Never Been So Excited](https://www.fanglu.net/i-have-never-been-so-excited/) - Fang Lu, single channel video installation, Wall paper with prints, 2019, video length 8’40”, language: Mandarin with Chinese and English subtitle
- [Tank (Part 2)](https://www.fanglu.net/tank-part-2/) - Fang Lu & Arie Kishion, Two Channel Video Installation, 13 minutes, sound, 2018
- [Theater of Moving Objects](https://www.fanglu.net/theater-of-moving-object/) - Fang Lu and Arie Kishon, Two channel video installation, video length: 16’24” and 15’11”, Silent, 2018-2019, Super 8mm film transfered to video
- [Shechina](https://www.fanglu.net/shechina/) - Fang Lu & Arie Kishon, 2025, Single-channel HD video, color, sound, with Chinese and English subtitle, 76 min.
- [Canton Novelty](https://www.fanglu.net/canton-novelty/) - single channel video, 25’, 16:9, sound, 2016, Mandarin and Cantonese dialogue with English and Chinese subtitle.
- [China Wonderland](https://www.fanglu.net/china-wonderland/) - Fang Lu, 15’37”, Single Channel Video, 16:9, Sound, Cantonese and English with Chinese and English subtitle, 2017
- [The Secret of Supermoon](https://www.fanglu.net/the-secret-of-supermoon/) - single channel video, 48’45”, sound, 16:9, 2015
- [Sea Of Silence](https://www.fanglu.net/sea-of-silence/) - single channel video, 29’, or installed as three channels, each 6’51”; 9’28”; 10’22”, sound, 2015
- [No World](https://www.fanglu.net/no-world/) - single channel video, 18', sound, 16:9, 2014
- [Rola](https://www.fanglu.net/rola/) - Two Channels video or three channels bilingual video, silent, 16:9, 2014
- [Cinema](https://www.fanglu.net/cinema/) - Video Installation, 7 channels, 19'19", sound, 16:9, 2013
- [Lovers Are Artists (Part 2)](https://www.fanglu.net/lovers-are-artists-part-2/) - video, 11'50', sound, 16:9, 2012
- [Sound Bomb](https://www.fanglu.net/sound-bomb/) - video, 6'30", sound, 16:9, 2011
- [Rotten](https://www.fanglu.net/rotten/) - video, 16', sound, 16:9, 2011
- [Family](https://www.fanglu.net/family/) - video, single channels, 7', sound, 16:9, 2011
- [Automatic Happening](https://www.fanglu.net/automatic-happening/) - video, 2 channels, 29', sound, 16:9, 2010
- [Skin](https://www.fanglu.net/skin/) - video, 10'24", sound, 16:9 vertical, 2009
- [Housework Ritual](https://www.fanglu.net/housework-ritual/) - video, 10'58", 2009
- [Perfect Life Instruction](https://www.fanglu.net/perfect-life-instruction/) - Photo loop, 2009-2010
- [Don't Talk About Politics](https://www.fanglu.net/dont-talk-about-politics/) - video, 8'33", two channels, sound, 2008-2009
- [News Reenactment](https://www.fanglu.net/news-reenactment/) - Video Installation, 6 channels, 2008
- [Color I](https://www.fanglu.net/color-i/) - video, 2 hours 20 minutes, sound, 4:3, 2007
- [Panda Express](https://www.fanglu.net/panda-express/) - Video Installation, two-channel, 3', sound, 4:3, 2007
- [DivaTV](https://www.fanglu.net/divatv/) - 10 episodes of TV series, 28:30 Minutes Each, 2007
- [Untitled Being IV](https://www.fanglu.net/untitled-being-iv/) - video, 5'10", sound, 4:3, 2002, Photographer: Anita Wong
- [逃离日常的规则：方璐的录像艺术](https://www.fanglu.net/zh/逃离日常的规则：方璐的录像艺术/) - 在看似正常的日常生活场景里，录像中的人，表情认真，有时候似乎在思考，行为举止荒诞怪异，相悖于正常的日常行为。表达与叙事仿佛都故意的模糊化，让人捉摸不透却陷入思考，让人似有领会却又难以清晰明说。作为观者，往往很难说怎样去确切地说出方璐的作品意义或主旨，可是却很容易产生对这种模糊而神秘的录像作品的思考。究竟应该如何解读这位青年艺术家的录像艺术？本期《画廊》将对话方璐，试图理解这位身为女性，却不喜欢“女性艺术家”称呼的录像艺术家的观念和思考。
- [翁子健对话方璐--OCAT 上海](https://www.fanglu.net/zh/翁子健对话方璐-ocat-上海/) - ......很重要的一个问题，我觉得很多艺术家都会像你这样，对于现实的一些问题感到很关心，感到很焦虑。我觉得这种焦虑是出于一种外面发生这样的事情，但是我们作为艺术家也好、作为知识分子也好，作为什么也好，我们能做什么，这是很不明确的，所以我们不知道该怎么办。然后你说艺术不是一个避难所，艺术也不是一种武器，不是用来就是具体的政治立场的。
- [“我们找到了世界的神奇入口”——采访方璐影片《广州新语》的女主人公邓丽雯、钟若含和郭秋莉](https://www.fanglu.net/zh/我们找到了世界的神奇入口-采访方璐影片/) - 2016年5月，为了给自己的电影短片《广州新语》寻找主演，方璐发起了一场“寻找神奇女孩”的招募活动。不久邓丽雯、钟若含和郭秋莉三位女孩被确定为短片的灵魂主演。某种意义上讲，这三位女孩不仅是主演还是摄像，她们用手机代替专业摄影机来拍摄彼此。拍摄从她们踏上去广州的旅途的那个夜晚开始，正如影片讲述的一样，她们将一起在广州渡过暑假，故事也因此而发生。在这部主题魔幻而风格纪实的短片中，观众将看到三位女主人公的的神奇之处在于她们怀抱对美妙和幻想的偏执，以这种偏执她们找到了世界的神奇入口……
- [方璐：她们在镜头里能够找到比现实生活中更多的自由](https://www.fanglu.net/zh/方璐：她们在镜头里能够找到比现实生活中更多的/) - 录像和电影的界限越来越模糊了，最开始的时候录像比起电影来说，从拍摄到观看都是一种更灵活和便捷的媒介，很多想法都可以很随机地去实现，因为这一点，你可以用录像去做更多的实验。今天虽然很多录像作品可以动用电影一样的制作，但是我认为录像指的并不仅仅是一种拍摄的工具，它仍然代表的是一种实验的精神，我想这个才是它的本质。
- [方璐与艾瑞：“放松，关注变化”](https://www.fanglu.net/zh/方璐与艾瑞：放松，关注变化/) - 观赏影片的空间经过艺术家精心设计，像是身体上的一处穴位——曲池。它犹如肘部弯曲处的小窝，汇集着带着不同能量、记忆与故事的人。同样蜿蜒曲折的是艾瑞纸本绘画上的线条，它们有着内在广阔的灵性世界，也会随着外部环境的变化而变。语言在这里消失了，化为寻找形状和意义的线条。我们必须敞开更多的感官，调动起身体的感知与经验。当我们彻底打开自己的时候，就可体验到各种不同的感受。
- [上演与非上演之间 ｜ 姚嘉善](https://www.fanglu.net/zh/方璐-上演与非上演之间/) - 近年来我们可以见证我们所熟悉并将之亲切称为“当代艺术”的景观中一些重大变化。其中特别的一点就是所谓的“后表现艺术家”的涌现，这些艺术家不单单自认为“创作者”，同时作为现有符号和物品的合成器、辅助器和操纵器在行动(act)。我在此特意使用“行动”一词——不仅为了指出艺术家的一系列述行姿态，也要标示出与戏剧领域日趋紧密的联系。今天艺术实践不断更新和走向关系或社会参与性，在同等程度上让它们（艺术实践）成为身体或时间性的实验；而行为的不同层次——在设定或未设定的情境下展开并由演员和非演员来施行——通过各种媒材的中介作用，提供了在既有现实和复制、加工或者说重组的现实之间的新的滑动。
- [非记录 - 方璐个展 | 卢迎华](https://www.fanglu.net/zh/非记录-方璐个展-卢迎华/) - 还在美国学习设计的时候，方璐就在纽约PSI艺术中心第一次接触到当代艺术展览。 看到在黑暗的房间中放置着电视机和满地缠绕的电线，她深受震撼。在那一次经历中，艺术的展示方式比艺术的内容让她更加着迷。她原本深受作为国画家的父亲所影响而形成的植根于中国传统艺术实践的对于艺术的理解，也在这次体验中得到真正地拓展。这次经历使得方璐放弃了原本要成为一位设计师的计划，而踏上了成为一位艺术家的征程。2007年她从旧金山美术学院毕业，获得新媒介（录像和行为）的硕士学位，之后回到广州开始艺术创作的生涯。
- [关于方璐作品｜严潇潇](https://www.fanglu.net/zh/关于方璐作品｜严潇潇/) - 方璐的一些带有叙事性的录像作品,时常是在不合理中寻找可能性。在近两年的作品中,这种 不合理情境又时常借由食物与人的行动来营造。她此前的录像作品更加关注当代流行媒介及身 体在行为中的经验,然而即便是在一些叙事性最小的作品中(如《我的同学》、《肌肤》等), 都可看到身体在摄像机前或多或少带即兴成分的表演。
- [About Fang Lu's Work | Yan Xiaoxiao](https://www.fanglu.net/about-fang-lus-work-yan-xiaoxiao/) - Some of Fang Lu’s narrative video artworks seek out possibilities from within the irrational. In her works over the past two years, such irrational settings are often created through the actions of people and food. Her earlier works focused more on popular contemporary mediums and the experience of the body in action. Even in the least narrative of her works (such as My Classmate and Skin), we can see the body performing a lot or a little in front of the camera.
- [独白如何占据空间 ｜ 黄建宏](https://www.fanglu.net/zh/独白如何占据空间-｜-黄建宏/) - “独白”在方璐的作品中并非关注在封闭性的单向话语，而是让我们重新看待自身与环境、内在与世界之间的“动态平衡”。也就是说，不是为了凸显出任何特定位置，如女性的位置或受害者的位置，而是如何在意识与话语的流动中看见“我们的关系”。这里不只是女人、某个人或特定的男人，而是一些或许总是游移在不同界线之间的人们，因为这些关系的“独白式”抒发，世界才得以重新调整。这些真实话语的出现或发生就是一种跨越系统框架的“创造性过程”，而方璐的场景创置就在于启动这个过程，但又不再次将其框架在另一个幻见中。
- [How Monologue Occupies Space | Huang Chien-hung](https://www.fanglu.net/how-monologue-occupies-space-huang-chien-hung/) - We have just examined women’s soliloquy, and creation and demise of fantasy. Fang Lu’s work is less concerned with “soliloquy” as a closed circuit of one-way speech, but a dynamic balance that one’s relationship to environment, internal and external world. Hence there’s no privileged position, such as the woman or the victim; foregrounded are the relationships that become visible in the flow of language and consciousness. It’s not about the specificity of a character, female or male, but a multitude of persons drifting between different boundaries, whose monologues about relationships allow the world to adjust itself anew. The actual taking place of speech engenders a creative process that overcomes structural patterns; Fang Lu positions her work as the catalyst for the process to take off, without framing it in yet another fantasy.
- [家，或工作室 ｜ 陈侗](https://www.fanglu.net/zh/家，或工作室-｜-陈侗/) - 对方璐作品的兴趣，我想是从看到《家务仪式》开始的。这部作品给人一种宏大而细腻的感觉，它无疑只是一个录像，而不是对于表演的影像记录，尽管我们的确在其中看到了表演：打扮得更像是前台接待的酒店女服务员，没有生气的面孔，刻板的动作和不合理的场景安排。对我们来说，这些都是既熟悉又陌生的符号，仅仅具有现实性，并无任何真实可言。这就是表演的实质。
- [Home, or Studio? | Chen Tong](https://www.fanglu.net/home-or-studio/) - My interest in Fang Lu’s work, I believe, began when I first saw Housework Ritual. This work gives a sense of vastness and meticulousness, it is doubtless only functioning as a image, and not a record of a performance, even though we are certainly observing a performance within: dressed more like front desk employees at a hotel, there are no have angry expressions as they act out their mechanical movements in irrational scenes. To us, these familiar yet strange symbols are merely reflecting a reality, although they have absolutely nothing real to speak of. This is the essence of performance.
- [Fang Lu – Between the Staged and Unstaged | Pauline J. Yao](https://www.fanglu.net/fang-lu-between-the-staged-and-unstaged/) - Enter Fang Lu, a Beijing-based artist whose recent artistic practice focuses on strategies of staging, re-staging and performance through the medium of video. From karaoke style sing-a-longs to reenacted events to instructional how-to vignettes, Fang Lu’s work seeks to uncover the space between mimesis and veracity, repetition and singularity. It dissects and literally re-presents specific actions and behaviors in front of the camera as a way of elevating the mundane to the realm of performance and merging real-time action or making to the act of recording itself. By further binding these moments to the highly plastic medium of video, Fang produces something that gestures at reality but is not grounded in it, plies at being live and recorded while in the process remaining utterly subject to the mutability and modification of the recorded image.
- [Unrecording: Fang Lu, | Carol Yinghua Lu](https://www.fanglu.net/unrecording-fang-lus-solo-exhibition-carol-yinghua-lu/) - While studying graphic design as an undergraduate in the United States, Fang Lu saw her very first contemporary art show at PS1 in New York. She was struck by the display of TVs and sprawling cables in a darkened room, amazed by the way that art was shown more than by its actual content. The visit was inspirational for the young artist, truly expanding her understanding of art that was originally rooted in traditional Chinese art practice as exemplified by her own father, a Chinese ink painter. This experience was instrumental in moving Fang to a life as an artist instead of the graphic designer she had initially set out to become. She earned an MFA in new genres (video and performance) at the San Francisco Art Institute in 2007 and returned to Guangzhou subsequently to pursue her artistic career.
- [No World: A Screening with Fang Lu and Herb Tam](https://www.fanglu.net/no-world-a-screening-with-fang-lu-and-herb-tam/) - Jane DeBevoise (JD): Today we’re very happy to welcome Fang Lu, an artist now based in Beijing, and Herb Tam, a curator and Director of Exhibitions at the Museum of Chinese in America (MOCA). Herb has worked at MOCA for three and a half years and before that at Exit Art for four years. Herb, we are delighted that you will be moderating tonight’s talk...
- [Asia Art Archive Interview with Fang Lu and Fiona He](https://www.fanglu.net/asia-art-archive-interview-with-fang-lu-and-fiona-he/) - Asia Art Archive’s Fiona He spoke with artist Fang Lu about her unique style of camera direction, her interest in food as an artistic medium, and the reality of being a female artist in China today.
- [The Intimate Space in front of Camera — Conversation of Fang Lu and Carol Yinghua Lu](https://www.fanglu.net/the-intimate-space-in-front-of-camera-conversation-of-fang-lu-and-carol-yinghua-lu/) - Some of Fang Lu’s narrative video artworks seek out possibilities from within the irrational. In her works over the past two years, such irrational settings are often created through the actions of people and food. Her earlier works focused more on popular contemporary mediums and the experience of the body in action. Even in the least narrative of her works (such as My Classmate and Skin), we can see the body performing a lot or a little in front of the camera.
- [Fang Lu and Arie Kishon Blur Cultural Cosmologies](https://www.fanglu.net/fang-lu-and-arie-kishon-blur-cultural-cosmologies/) - At Beijing's SPURS Gallery, a new film by Fang Lu and Arie Kishon in their exhibition, Somewhere in the center, I created you, explores the crossovers between Chinese and Jewish cultures.

## Pages

- [Works](https://www.fanglu.net/) - Fang Lu is most recognized for her video art, while her palette also involves photography, installation and print. Her practice addresses the tensions intermingled with modern life.
- [Contact](https://www.fanglu.net/contact/) - Contact Name Email Message Send The reCAPTCHA verification period has expired. Please reload the page.
- [简 历 - Biography](https://www.fanglu.net/zh/biography-zn/) - 方璐, 1981年生于广州，现工作与生活于纽约比肯。方璐的主要创作媒介为录像艺术，她的作品呈现了交织与现代生活中的张力，通过把个体经验和挣扎提升到形而上的语境中，尝试去揭示我们平凡生活中的奇迹之处。她的作品被艺术机构与画廊广泛展出，其中包括旧金山的亚洲美术馆、纽约的选集电影档案馆、巴黎的蓬皮杜中心、温哥华国际电影节、卢贝尔美术馆、美国佛罗里达州圣彼得堡的坦帕美术馆、广州和柏林的时代美术馆、北京的尤伦斯当代艺术中心、上海和深圳的OCAT当代艺术中心等。方璐是中国独立录像档案机构—录像局的共同创始人之一。除了艺术家的身份，方璐也是一位在纽约的针灸师和中医师。个展2025 于须弥—我创造了你，马刺画廊，北京2019 任物者，博而励画廊，北京2016 无限感应，博而励画廊，北京2013 失秒，博尔励画廊，北京2013 恋人和艺术家，艺门画廊，香港2012 恋爱的人就是艺术家，箭厂空间，北京2011 做食，博尔赫斯当代艺术机构，广州2011 自动发生，A4 当代艺术中心，成都2010 非记录，空间站，北京部分群展和放映2023 动为行：中国媒体艺术35年，天目里美术馆，中国杭州 （策展人张尕）2023 白洞：甲骨文的奥秘与当代感知，798CUBE, 中国北京（策展人杨紫）2023 她们在沙漠中书写，阿拉德艺术中心，以色列阿拉德（策展人苏珊·布罗施-莱维特）2023 妇女·艺术·革命，器空间和卡迪斯，中国重庆2023 希望之后：抵抗的录像，皮博迪博物馆，美国马塞诸塞州塞列姆市 （策展人陈畅）2022 新世纪的生活：1989年以来的中国媒体艺术，蔚山美术馆，韩国蔚山（策展人李振华）2020 一个未来的故事， MAXXI 21世纪国家艺术博物馆，意大利罗马 （策展人侯瀚如）2019 群展“动情——1949后变局中的情感与艺术观念”，中国北京中间美术馆 (策展人苏伟)2019 月亮代表我的心：音乐・记忆・共同体，美国华人博物馆，美国纽约 (策展人谭海俊）2019 第五十七届安娜堡电影节，特殊项目：成为自己，美国安娜堡2019 群展“自由棱镜，录像的浪潮”，中国佛山华侨城盒子美术馆 （策展人戴卓群）2019 群展“农林共舞台,广州扉美术馆，中国广州 (策展人：沈瑞筠）2019 影像三角志—珠三角地区的录像艺术，时代艺术中心，德国柏林 （策展人侯瀚如、希蓓）2018 街道—制造世界的地方，MAXXI 21世纪国家艺术博物馆，意大利罗马 （策展人侯瀚如）2018 不被察觉，招引艺术空间，深圳2018 《广州新语》入选第二十届意大利远东电影节，意大利乌迪内2017 深圳城市\建筑双年展, 深圳2017《广州新语》首映于第五届温哥华国际电影节，巡映于：西岸艺术与设计博览会(上海); 北京国际短片联展，CHAO艺术中心 (北京); 尤伦斯艺术中心 (北京); 昊美术馆(上海); 时代美术馆(广州); 西安OCAT华侨城当代艺术中心馆 (西安); 苏州国际艺术短片周，寒山美术馆 (苏州); 麓湖A4美术馆 (成都);
- [Interviews ZN](https://www.fanglu.net/zh/interviews-zn/) - 方璐与艾瑞：“放松，关注变化” 观赏影片的空间经过艺术家精心设计，像是身体上的一处穴位——曲池。它犹如肘部弯曲处的小窝，汇集着带着不同能量、记忆与故事的人。同样蜿蜒曲折的是艾瑞纸本绘画上的线条，它们有着内在广阔的灵性世界，也会随着外部环境的变化而变。语言在这里消失了，化为寻找形状和意义的线条。我们必须敞开更多的感官，调动起身体的感知与经验。当我们彻底打开自己的时候，就可体验到各种不同的感受。 方璐：她们在镜头里能够找到比现实生活中更多的自由 录像和电影的界限越来越模糊了，最开始的时候录像比起电影来说，从拍摄到观看都是一种更灵活和便捷的媒介，很多想法都可以很随机地去实现，因为这一点，你可以用录像去做更多的实验。今天虽然很多录像作品可以动用电影一样的制作，但是我认为录像指的并不仅仅是一种拍摄的工具，它仍然代表的是一种实验的精神，我想这个才是它的本质。 “我们找到了世界的神奇入口”——采访方璐影片《广州新语》的女主人公邓丽雯、钟若含和郭秋莉 2016年5月，为了给自己的电影短片《广州新语》寻找主演，方璐发起了一场“寻找神奇女孩”的招募活动。不久邓丽雯、钟若含和郭秋莉三位女孩被确定为短片的灵魂主演。某种意义上讲，这三位女孩不仅是主演还是摄像，她们用手机代替专业摄影机来拍摄彼此。拍摄从她们踏上去广州的旅途的那个夜晚开始，正如影片讲述的一样，她们将一起在广州渡过暑假，故事也因此而发生。在这部主题魔幻而风格纪实的短片中，观众将看到三位女主人公的的神奇之处在于她们怀抱对美妙和幻想的偏执，以这种偏执她们找到了世界的神奇入口…… 翁子健对话方璐–OCAT 上海 ……很重要的一个问题，我觉得很多艺术家都会像你这样，对于现实的一些问题感到很关心，感到很焦虑。我觉得这种焦虑是出于一种外面发生这样的事情，但是我们作为艺术家也好、作为知识分子也好，作为什么也好，我们能做什么，这是很不明确的，所以我们不知道该怎么办。然后你说艺术不是一个避难所，艺术也不是一种武器，不是用来就是具体的政治立场的。
- [Interviews](https://www.fanglu.net/interviews/) - Tate Research Centre-Asia: Fang Lu and Monica Merlin Working in moving image, Fang Lu (born 1981) is inspired by popular culture and daily life experience. Her work reveals a deep analysis of political, societal and gender constructs, while exploring the multiple relationships between life and spectacle. Read More » Asia Art Archive Interview with Fang
- [论文 - Essays](https://www.fanglu.net/zh/essays-zn/) - How Monologue Occupies Space | Huang Chien-hung We have just examined women’s soliloquy, and creation and demise of fantasy. Fang Lu’s work is less concerned with “soliloquy” as a closed circuit of one-way speech, but a dynamic balance that one’s relationship to environment, internal and external world. Hence there’s no privileged position, such as the
- [Essays](https://www.fanglu.net/essays/) - How Monologue Occupies Space | Huang Chien-hung We have just examined women’s soliloquy, and creation and demise of fantasy. Fang Lu’s work is less concerned with “soliloquy” as a closed circuit of one-way speech, but a dynamic balance that one’s relationship to environment, internal and external world. Hence there’s no privileged position, such as the
- [展览 - Exhibitions CN](https://www.fanglu.net/zh/展览-exhibitions/) - Somewhere in the Center, I Created You The exhibition features the latest film Shechina (2025) by the two artists in Gallery I, and Kishon’s drawings, paintings and a furniture design Diamond Wave Chair (2025) in Gallery II on the second floor. Gateway Wonder Gateway Wonder serves as an emotional theatre, taking viewers away from the
- [Contact ZN](https://www.fanglu.net/zh/contact-zn/) - 联络 姓名 邮箱 留言 发送信息
- [Exhibitions](https://www.fanglu.net/exhibitions/) - Somewhere in the Center, I Created You 01/04/2025 - 02/19/2025 SPURS Gallery Beijing The exhibition features the latest film Shechina (2025) by the two artists in Gallery I, and Kishon’s drawings, paintings and a furniture design Diamond Wave Chair (2025) in Gallery II on the second floor. Gateway Wonder 10/26/2019 - 11/29/2019 Boers-li Gallery Beijing
- [出版物 - Publications](https://www.fanglu.net/zh/出版物-publications/) - Unrecording: Fang Lu’s Solo Exhibition, 非記錄：方璐個展
- [Publications EN](https://www.fanglu.net/publications/) - Unrecording: Fang Lu’s Solo Exhibition, 非記錄：方璐個展
- [艺术品](https://www.fanglu.net/zh/works-zn/)
- [Biography](https://www.fanglu.net/biography/) - Fang Lu, born in 1981 in Guangzhou, China. She lives and works in Beacon New York. Fang Lu’s most recognized for her video art, while her palette involves photography, installation and print as well. Her practice addresses the tensions intermingled with modern life. Through elevating personal experience and struggles to a metaphysical setting, she strives
- [Press](https://www.fanglu.net/press/) - Fang Lu and Arie Kishon Blur Cultural Cosmologies Zian ChenFebruary 26 2025OCULA 展评: “于须弥，我创造了你” 姚博安February 12 2025Artforum.com.cn 当你聆听痛疼时，神性是阴性词：关于⽅璐和艾瑞的《神舍》 雷徕February 13, 2025北京当代艺博会-聚像 关系电影：谈⽅璐与艾瑞的《神舍》 陈玺安February 13, 2025OCULA 方璐 身体旅行 Yijie.ZhangAugust, 2022Vogue China 方璐谈“任物者” 采访／ 钟若含Interviewer: Zhong Ruo HanNovember 1, 2019Artforum.com.cn 四段影像中的独白 栾志超2016年第八期《艺术世界》杂志 Taking Part in the World Edward Sanderson29 September 2014Flash Art House Work Ritual 家务仪式 Leigh
- [Press ZN](https://www.fanglu.net/zh/press-zn/) - Fang Lu and Arie Kishon Blur Cultural Cosmologies Zian ChenFebruary 26 2025OCULA 展评: “于须弥，我创造了你” 姚博安February 12 2025Artforum.com.cn 当你聆听痛疼时，神性是阴性词：关于⽅璐和艾瑞的《神舍》 雷徕February 13, 2025北京当代艺博会-聚像 关系电影：谈⽅璐与艾瑞的《神舍》 陈玺安February 13, 2025OCULA 方璐 身体旅行 Yijie.ZhangAugust, 2022Vogue China 方璐谈“任物者” 采访／ 钟若含Interviewer: Zhong Ruo HanNovember 1, 2019Artforum.com.cn 四段影像中的独白 栾志超2016年第八期《艺术世界》杂志 Taking Part in the World Edward Sanderson29 September 2014Flash Art House Work Ritual 家务仪式 Leigh
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- [Elementor Search Results #4221](https://www.fanglu.net/?elementor_library=elementor-search-results-4221) - Search Results: 艺术品 View » 于须弥，我创造了你 展览标题“于须弥，我创造了你”与艾瑞此次展出的绘画系列其中一组同名。须弥山为印度教、佛教等宇宙观中的世界中心，也是众神的居所。佛教的“须弥”呼应了犹太教中的“舍姬娜”（Shechina，也写作Shekhinah）——在犹太传统中，舍姬娜象征着女性的神格，也代表着能感受到神所在的某个地点或者时间。此次展出的影片《神舍》一名就取自舍姬娜。 View » Biography Fang Lu, born in 1981 in Guangzhou, China. She lives and works in Beacon New York. Fang Lu’s most recognized for her video art, while View » Somewhere in the Center, I Created You The exhibition features the latest film Shechina (2025) by the two
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- [Article Title](https://www.fanglu.net/?elementor_library=article-title) - The Intimate Space in Front of Camera- Conversation of Fang Lu and Carol Yinghua Lu
- [Text English Updated](https://www.fanglu.net/?elementor_library=text-english-updated) - About Fang Lu’s WorkYan XiaoxiaoSome of Fang Lu’s narrative video artworks seek out possibilities from within the irrational. In her works over the past two years, such irrational settings are often created through the actions of people and food. Her earlier works focused more on popular contemporary mediums and the experience of the body in
- [Text English](https://www.fanglu.net/?elementor_library=text-english) - Fang LuBorn in 1981 in Guangzhou, China. Lives and works in Beacon New York.Fang Lu’s most recognized for her video art, while her palette involves photography, installation and print as well. Her practice addresses the tensions intermingled with modern life. Through elevating personal experience and struggles to a metaphysical setting, she strives to reveal the
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- [Works Page One Template](https://www.fanglu.net/?elementor_library=works-page-one-template) - Works Page One Template 2016 Tate Research Centre-Asia: Fang Lu and Monica Merlin 非记录 做食 恋爱的人就是艺术家 恋人和艺术家 失秒 2015 Tate Research Centre-Asia: Fang Lu and Monica Merlin 非记录 做食 恋爱的人就是艺术家 恋人和艺术家 失秒 2014 Tate Research Centre-Asia: Fang Lu and Monica Merlin 非记录 做食 恋爱的人就是艺术家 恋人和艺术家 失秒 2013 Tate Research Centre-Asia: Fang Lu and Monica Merlin
- [Works Menu](https://www.fanglu.net/?elementor_library=works-menu) - 2016 Tate Research Centre-Asia: Fang Lu and Monica Merlin 非记录 做食 恋爱的人就是艺术家 恋人和艺术家 失秒 2015 Tate Research Centre-Asia: Fang Lu and Monica Merlin 非记录 做食 恋爱的人就是艺术家 恋人和艺术家 失秒

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