杂志GyreCraft Magazine 市集Market
展映Screening                       论坛Forum         Exhibitions 展览项目Projects                  GyreCraft

Catch the Wind, Fetch the Shadow 捕风捉影




 Subject 主题Time 时间 ｜ Location  地点
Project Overview 项目概述

House of crafts Chapter Three：Catch the Wind, Fetch the Shadow

《手艺之家》第三章：捕风捉影



Exhibition Dates: August 31 – October 8, 2023
Venue: 3rd Floor Riverside Platform, Power Station of Art (PSA), Shanghai

开放时间:2023年8月31日至10月8日
地点:上海当代艺术博物馆三楼临江


 Jointly initiated by the Power Station of Art (PSA) and the CHANEL Culture Fund, the House of crafts project opened its third chapter, “Catch the Wind, Fetch the Shadow”, to the public from August 31 to October 8, 2023, on the riverside platform of the PSA’s third floor. This chapter of House of crafts breaks away from material-based typologies and instead delves into the media flows behind physical matter—focusing on how regional environments and local knowledge inherently inspire craft. The exhibition space is designed as a "sun yard of objects," a familiar setting in the southern regions where wind and shadow coexist. Interlaced crossbeams and mesh surfaces create voids through the projection of shadows, forming a kind of “intermediate container.” The more than ten groups of craftspeople, artists, designers, and researchers “captured” within this setting are placed in overlapping yet divergent conditions—between text and wilderness, technique and art. Along this north-to-south journey, the complexity of flowing, elusive wind-shadow imagery begins to emerge. Through the materiality and potential of the artisan, through the localized spirit and knowledge embedded in handcraft traditions, a unique skill of tracing and marking gradually comes to light.

由上海当代艺术博物馆(PSA)与香奈儿文化基金联合发起的“手艺之家”项目于2023年8月31日至10月8日期间，在PSA三楼临江平台向公众开放第三章-“捕风捉影”。本期“手艺之家”尝试跳出材料类型学的划分方式，深入物质背后“流通”的媒介信息，关注地域环境及地方性知识对“手艺”的内在激发。展览现场被设定为一个南方常见风影相生的“物之晒场”，空间中交错的横束斜杆与网状承载面，由影子创造出孔隙，如同一个“居间”容器;而被“捕捉”的十余组手艺人、艺术家、设计师、研究者，构成了不同视域下所面对的相似情境--文与野，技与艺，这条自北向南的路途，“移动”所带来的复杂目莫可踪迹的风影气息，从手艺人的及物与潜能中，从手工艺内部的地方性知识与精神里，逐步显露为关于痕迹的技艺。


Organizers: Power Station of Art (PSA), CHANEL Culture Fund
Admission: Free
Exhibiting Participants: Cai Kaidong, Chen Jiazi & Gao Muyuan & Wei Wenwen, Hei Yu, Huang Shousan, Lu Yanpeng, Wu Guanzhen, Xu Zhuchu & Xu Qiang, Xu Lu, Zheng Shuitu, Zhuang Wenjia
Co-Curator: Long Yitang
Exhibition Pavilion & Spatial System Design: YI Architecture
Graphic Design: Buyilehu Studio

平台主办机构:上海当代艺术博物馆、香奈儿文化基金
票价:免费
参展人:蔡凯东、陈嘉梓&高牧远&韦雯雯、黑余、黄寿三、卢彦鹏、吴观真、徐竹初&徐强、许路、郑水土、庄温嘉
联合策展人:龙奕瑭
展亭与展陈系统设计:佚建筑
平面设计:不亦乐乎工作室

 The exhibition "Catch the Wind, Fetch the Shadow" begins with traditional Minnan lanterns crafted by artisans Huang Shousan and Zhuang Wenjia, Zhangzhou glove puppets made by Xu Zhuchu and his son Xu Qiang, and contemporary photography by artist Lu Yanpeng titled Offering Flowers to the Buddha. The first section, "Forms Gather, Shadows Scatter", explores three mediums—lantern shadows, sculptural silhouettes, and puppet figures—all activated by light. These forms extend beyond their material surfaces, projecting into the imagination of time and space. Suspended along the entrance corridor, the slanted rods reference breezeways in southern alleyways—places of gathering and pause, but also intersections of local spirits and mythical presences. The second section, "Southern Soundscape", traces the evolution of Nanyin—a classical musical tradition brought to Minnan by migrants from the Central Plains and fused with local folk sounds. Pieces like The Wind Strikes the Pear Tree or Wind Sends the Phoenix Tree evoke gentle breezes brushing across the senses. Young producer Cai Kaidong experiments with modern arrangements to reinterpret and share Nanyin in a contemporary context. In the third section, "Herbal Shadows", Wu Guanzhen’s lacquer installation That Water—Bamboo Music Scroll is shown alongside Heiyu’s paper-based installations Glimmer and Thousand Characters. In the southern coastal and mountainous regions, “shadows of grass and wood in the wind” are a common sight. Local plants such as rush grass and lacquer trees—once woven or processed by hand—become translucent materials that hold the textures of local ecology and memory, offering delicate portraits of the interaction between nature and human perception. The final section, "Sailing with the Wind", is anchored in a dialogue between boatbuilder Zheng Shuitu and historian Xu Lu, centered around the Treatise on Boatmaking. It evokes ancient maritime wisdom—how sailors prayed for wind and, once it came, navigated its direction with skillful rigging. The piece A Family Letter, by China Academy of Art graduates Chen Jiazi, Gao Muyuan, and Wei Wenwen, imagines a poetic voyage of diaspora and return. As sails travel far across the sea, the sentiment carried in Family letters brings the homesick heart back to where it began.

展览“捕风捉影”以闽南传统灯笼、漳州布袋木偶和当代摄影作品《借花献佛》开篇。第一版块“形聚影散”中，灯影、像影、身影三组媒介在光的作用下显影，从物质表面逸出，投射于时空想象。它们悬挂于入口走廊，斜杆装置仿照南方巷道的风口，既是聚集、乘凉之地，也汇聚着风土神灵与异象。第二版块“南乐采风”回溯南音的发展：由中原移民带入闽南，与本地音乐融合，形成温柔质朴的“南风之音”。传统曲目如《风打梨》《风送梧桐》等，如微风拂物。年轻音乐人蔡凯东尝试以现代编曲探索南音的当代表达与传播路径。第三版块“艸木影象”展出吴观真的漆艺装置《那水——乐竹图》与黑余的纸艺作品《微光》《千字文》。南方山海间“风吹草木影”最为常见，蔺草、漆木等本土植物经由手工揉制成为透光材料，承载地方风物与感知记忆，细腻描摹自然与人之间的互动。最后一版块“顺风相送”以传统造船师郑水土与学者许路围绕《造舟记》的对话为引，讲述与风共行的智慧。中国美院陈嘉梓、高牧远、韦雯雯的《消失的侨批》虚构一段关于漂泊与归属的航海记忆。古人祭风祈风，起风之后顺逆皆可操帆掌舵；帆行千里之际，乡愁却仍随侨批寄语归来。


About Power Station of Art (PSA)

Established on Oct. 1st, 2012, the Power Station of Art (PSA) is the first state-run museum dedicated to contemporary art in mainland China. It is also home to the Shanghai Biennale. Standing tall by Shanghai’s mother river, the Huangpu River, PSA now occupies an area of 41-thousand square meters. With an internal height of 27 meters, the museum now houses exhibition sections that add up to 15-thousand square meters, and its 165-meter chimney, being an independent exhibition space, has also become an integral part of Shanghai’s world-famous skyline. Renovated from the former Nanshi Power Plant, PSA was once the Pavilion of Future during the 2010 Shanghai World Expo. The museum has not only witnessed the city’s vast changes from the industry age to the IT era, but also provided a rich source of inspirations for artists with its simple yet straightforward architectural styles. And as Shanghai’s generator for its new urban culture, PSA regards non-stopping innovation and progress as the key to its long-term vitality. The museum has been striving to provide an open platform for the public to learn and appreciate contemporary art, break the barrier between life and art, and promote cooperation and knowledge generation between different schools of art and culture.

关于上海当代艺术博物馆

上海当代艺术博物馆成立于2012年10月1日，是中国大陆第一家国有当代艺术博物馆，也是上海双年展主场馆。它坐落于上海的母亲河黄浦江畔，建筑面积4.1万平方米，展厅面积1.5万平方米，内部最高悬挑27米，高达165米的烟囱既是上海的城市地标也是一个独立的展览空间。上海当代艺术博物馆建筑由原南市发电厂改造而来，2010年上海世博会期间，曾是“城市未来馆”。它见证了上海从工业到信息时代的城市变迁，其粗砺不羁的工业建筑风格给艺术工作者提供了丰富的想像和创作可能。作为新城市文化的“生产车间”，不断自我更新，不断让自身处于进行时是这所博物馆的生命之源。上海当代艺术博物馆正努力为公众提供一个开放的当代文化艺术展示与学习平台；消除艺术与生活的藩篱；促进不同文化艺术门类之间的合作和知识生产。








About House of crafts

Jointly initiated by the Power Station of Art (PSA) and the CHANEL Culture Fund, Home of Handcraft unfolds as a long-term project exploring contemporary interpretations of Chinese craftsmanship. Situated in a temporary pavilion on the third-floor riverside terrace of PSA, the project presents evolving exhibitions that combine handcraft practices, field research, and archival narratives across diverse disciplines. The first chapter, Strike While the Iron is Hot – BANG!, spotlights ironwork — often seen as the foundation of handcraft traditions. Through three case studies of “new iron artisans,” the chapter examines how this time-honored craft is being reimagined in the present. The second chapter, Ten Practices of One Wood, turns its attention to wood — a material rich with temporal and spatial associations. Displayed on a scaffold-inspired “cabinet of curiosities,” ten wood-based objects spanning geographies and eras offer glimpses into the enduring and evolving relationship between material and maker. The third chapter, Catching Wind and Shadows, moves beyond material typologies to investigate the unseen forces behind objects — the circulation of information, media, and knowledge. This chapter explores how local environments and situated wisdom ignite and shape the handcraft process from within. Looking ahead, Home of Handcraft will continue to evolve in both theme and form, with its exhibitions and pavilion design adapting over time. Through this ongoing process, the project seeks to uncover the knowledge systems and cultural spirit embedded in handcraft, positioning the pavilion as a site for exchange, inspiration, and collective making.

关于“手艺之家” 

由上海当代艺术博物馆（PSA）与香奈儿文化基金联合发起的“手艺之家”项目，以设置于PSA三楼临江平台的临时展亭为载体，分期呈现当下不同门类的中国手工艺及其相关调研和文献。“手艺之家”第一章“趁热打铁 BANG!”聚焦于可被称为手工艺发展基础的“铁艺”，在展亭内集中呈现了三个颇具代表性的“新铁艺人”案例；第二章“一木十行”则着眼于兼具时间性与空间性的“木”，在金属脚手架构成的“博古架”之上，以十组跨越时空维度的木制之物的观照与逸散，为当代造木提供灵感一瞥；第三章“捕风捉影”尝试跳出材料类型学的划分方式，深入物质背后“流通”的媒介信息，关注地域环境及地方性知识对“手艺”的内在激发。未来，“手艺之家”将随着时序流转和主题演进持续更新展览内容与展亭结构，逐步释放手工艺内部所包裹的知识和精神，成为一处产生交流与融合的灵感孵化场。


About the CHANEL Culture Fund

The CHANEL Culture Fund collaborates with local cultural institutions to co-create initiatives with global impact, promoting CHANEL’s unique commitment to the arts. Continuing the brand’s century-long support for culture and the arts, the Fund focuses on championing women artists, fostering innovative thinking, revitalizing history, and shaping the future.


关于香奈儿文化基金

香奈儿文化基金与当地文化机构展开合作，共创全球影响力，推广香奈儿在艺术领域的独特倡议。延续一世纪以来品牌对文化艺术领域的资助，香奈儿文化基金聚焦女性艺术家，推动创新思维，焕兴历史，定义未来。









Minnanese Dragon-Tiger Lanterns, Zhuang Wenjia, 2023
Bamboo, paper; set of 6; each 45 × 45 × 60 cm
Exhibition view from Catch the Wind, Fetch the Shadow, 2023, Power Station of Art, Shanghai.

闽南龙虎灯，庄温嘉，2023年
竹、纸，6个，各45x45x60cm。
捕风捉影展览现场，2023年，上海当代艺术博物馆。
Offering Flowers with Borrowed Hands", Lu Yanpeng, 2012, Archival pigment print; set of 3; each 70 × 110 cm
Exhibition view from Catch the Wind, Fetch the Shadow, 2023, Power Station of Art, Shanghai

《借花献佛》，卢彦鹏，2012年。收藏级艺术微喷打印3件，各70x110cm。
捕风捉影展览现场，2023年，上海当代艺术博物馆。



《Thousand Character Classic》 by Heiyu, 2019. A set of 9 panels on handmade mulberry paper, each measuring 30 × 200 cm.

《 千字文》，黑余，2019年。自制楮皮纸，9片，各30×200cm
《That Water – Music of Bamboo》, Wu Guanzhen, 2021. A series of 5 works made with lacquer, ramie, and gold leaf, each measuring 186 × 60 cm.


《那水——乐竹图》，吴观真，2021年。大漆、苎麻、金箔，5件，各186×60cm