Spotlight works

ding! ding! dong! dong! 叮！叮！咚！咚! (2025)

220 × 185 × 44 cm

dimensions of individual hanging elements variable 单独悬挂物尺寸可变

Installation 装置

Aluminum, tin, pure aluminum cookware, rice ladle, recycled iron cover insulation pad, pig bristle cleaning brush, steel rope, steel wire, Greek honeycomb sponge, natural silk, silicone, pearls, beads, rice

铝，锡，纯铝锅具，饭勺，回收熨斗隔热套，猪鬓毛清洁刷，钢绳，钢丝，希腊蜂窝海绵，天然蚕丝，硅胶，珍珠，串珠，大米

Solo project by XUE Ying (yy?) :

Annoying Love

Xue Ying has long focused on the micropolitics of domestic spaces and the lingering emotions within them. Recently, she has attempted to recreate the "kitchen" — a temple and sanctuary shrouded by labor — by exploring multiple facets of cooking activities.

For a long time, we have been taught to believe that "learning," "intellectual thinking," and "cooking" occur in separate spaces, that critical thinking happens outside the kitchen, and that cooking in the kitchen has nothing to do with serious intellectual effort. This is a form of spatial exclusion that limits the shape of our thoughts and reveals the poverty of our imagination regarding intellectual production.

She juxtaposes "The annoying unfairness of kitchen chores distribution" with the idea that "cooking is thinking" and "the kitchen is a space for theorizing," inviting the audience to revisit the complexity and subtlety embedded in everyday life. She believes that kitchen matters are matters of the body—they concern how we eat, how we use heat and utensils, and how we understand other organisms entering our internal cycles, ultimately connecting us to all things. "When I cook, I am also researching the relationships between the body and language, the self and others, just as I would with the world outside the kitchen."

薛萤长期关注家庭空间的微观政治，绵延的情感，最近她试图通过关注烹饪活动的多个面向以复现“厨房”——遮蔽在劳作之下的庙宇与神殿。

我们在很长时间里被教导着去相信“学习”、“智性思考”和“烹饪”是在不同的空间中发生的，而批判性思考的工作发生在厨房之外，在厨房里做饭与认真思考的努力无关。这是一种空间化的排除，它限制了我们思想的形态，显示了我们对智识生产想象的匮乏。

她将 “厨房中恼人的分配不公正” 与 “烹饪即思考” 而 “厨房则是一个理论化的空间” 并置，邀请观众重临日常性中的复杂与幽微。她相信，厨房的事就是身体的事，它关乎我们如何吃，如何使用热能与器具，如何理解其他有机物进入我们自身的内部循环并最终与万物相连。“当我做饭时，我也在研究身体与语言、自我与他人之间的关系，就像对待厨房外的世界一样。”

Installation View

Artworks

《叮！叮！咚！咚！》是一组关于厨房乱奏的叙事，运用手工制作与收集的铝质器具，通过重复性的敲击与捶打，将身体劳动的节奏转译为声音的织体。艺术家在女性主义的视角下，探索声音、劳动与日常之间的关系，以其诗性的语言讲述日常空间。

ding! ding! dong! dong! (2025) is a narrative series about kitchen cacophony, using handmade and collected aluminum utensils to translate the rhythm of physical labor into a sonic fabric through repetitive tapping and pounding. From a feminist perspective, the artist explores the relationship between sound, labor, and daily life, narrating the ordinary space through poetic language.

ding! ding! dong! dong! 叮！叮！咚！咚! (2025)

220 × 185 × 44 cm

dimensions of individual hanging elements variable 单独悬挂物尺寸可变

Installation 装置

Aluminum, tin, pure aluminum cookware, rice ladle, recycled iron cover insulation pad, pig bristle cleaning brush, steel rope, steel wire, Greek honeycomb sponge, natural silk, silicone, pearls, beads, rice

铝，锡，纯铝锅具，饭勺，回收熨斗隔热套，猪鬓毛清洁刷，钢绳，钢丝，希腊蜂窝海绵，天然蚕丝，硅胶，珍珠，串珠，大米

《休息》作品以倚靠的在姿态在空间立面悬置，艺术家关心的正是这样劳动中的身体与具有行为性的静止状态——“她”在休息中，又并未完全脱离功能性状态。她使用简单的厨房工具勾勒器官化的身体，通过点线面完成主体在空间的安置。在一个并非全然放松的姿势下揭示当下女性的主体困境。

Rest is suspended against the vertical plane in a leaning posture. The artist is concerned with the body in labor and with a stillness that remains performative—“she,” though at rest, has not fully withdrawn from a state of function. With simple kitchen tools, the artist traces an organ-like body, positioning the subject in space through points, lines, and planes. In a posture that is never entirely relaxed, the work reveals the predicament of female subjectivity today.

When we fight for freedom, we cannot rest 休息 (2022)

160 × 40 × 40 cm

Installation 装置

Strainer, Leather Belts 滤网、皮带

Edition of 2 + 1AP

在 《味道：干》 中，艺术家将灶台上加热后的锅具灼烧不同材质的表面，尝试捕捉厨房中的热能——在跃迁、凝滞与褪散中的转换。这里，温度不再只是测量对象，而成为一种行为的质地。它的波动、失控与不确定揭示了厨房知识的流动与复杂。

厨房因此被重新理解为一个不稳定的系统，一个依赖身体、感知与经验进行试探与生成的现场。在这个现场里，身体既是工具，也是媒介；在这样的空间里，身体与物质的界线被轻微地扰动，我们得以瞥见，能量在物质之间流转的姿态。

In Smell: Dry, the artist heats pots and pans on a stove and scorches surfaces of different materials, attempting to capture the thermal energy in the kitchen—transforming between transition, stagnation, and dissipation. Here, temperature is no longer merely a measured object but becomes the texture of an action. Its fluctuations, loss of control, and uncertainty reveal the fluidity and complexity of kitchen knowledge.

Thus, the kitchen is reinterpreted as an unstable system, a site reliant on the body, perception, and experience for experimentation and generation. In this site, the body serves as both a tool and a medium; in such a space, the boundary between the body and matter is subtly disrupted, allowing us to glimpse the posture of energy flowing between materials.

Smell ：Dry 味道：干 (2025)

Mixed Media 混合媒介

Greige fabric, Organza, Printed mesh, Cotton plaid 白胚布，欧根纱，印花网纱，格子棉布

149 × 60 cm