index of /何穎雅 elaine w.ho

____年出生於博伊頓海灘，現居北京、柏林和香港。她是一位時基藝術、語言、都市實踐及設計工作者，曾就讀於____（休斯頓)、____（紐約）、____（阿納姆）和____（薩斯費村）。她的創作不斷對社會政治體系的深層結構法則發出提問：2008年到2013年她發起並運營『____』項目，在北京一條老衚衕當中展開一個社區里的公開平台；2014年她成為德國柏林『____』特別研究生；2015年在為期三日將知識具體化的《____》出版活動中擔任撰稿者、編輯及協作藝術家。近期行動包括出版（____），海盜電台（____），以及同『____』研究自下而上的社會組織與「低端全球化」。展览包括：____（新加坡，2019年）、_____（首爾，2018年）、____（柏林，2017年）、____（曼谷，2017年）、 ____（上海，2016年）和 ____（吉隆坡，2015年）。

Elaine W. HO was born in Boynton Beach, currently lives and works between Beijing, Hong Kong and Berlin. She works between the realms of time‐based art, language, urban practice and design, nurtured via the mixed merits of a Bachelor of Arts in Art & Art History from ____ University (Houston), design at ____ (New York) and ____ (Arnhem), and an MA in Philosophy, Art & Social Thought from ____ School (Saas-Fee). She is the founder of artist-run project space ____ in Beijing (2008-2013) and continues to ask questions about the sociopolitics of syntax, more recently via print (____), pirate broadcast (____) and as co-conspirator with ____. Exhibitions include: ____ (Singapore, 2019), ____ (Seoul, 2018), ____ (Berlin, 2017), ____ (Bangkok, 2017), ____ (Shanghai, 2016) and ____ (Kuala Lumpur, 2015).

Elaine likes to drink coffee and tea mixed together and is a frequent contributor to a disjunctured stream of thought known as ____.

Elaine W. HO works between the realms of time‐based art, language, urban practice and design, using multiple vocabularies to explore the micropolitics, subjectivities and alter-possibilities of an intimate, networked production.

The act of describing takes on a number of forms——a kind of grammar, a documentation, a gesture, a biography——or an experiment in Beijing known as HomeShop. She is the initiator of the artist-run space, active from 2008-2013, and continues to ask questions about the sociopolitics of syntax, more recently via print (• • PROPAGANDA DEPARTMENT), pirate broadcast (Widow Radio Ching & airTIME) and as co-conspirator with Display Distribute, a paranodal research platform investigating bottom-up organisation amidst global trade (2015-ongoing).

She likes to drink coffee and tea mixed together and is a frequent contributor at www.iwishicoulddescribeittoyoubetter.net.

作為一名時基藝術、語言、都市實踐以及設計工作者，何穎雅的作品常藉著運用多維度的藝術詞彙，探索在現代社會中，人、空間和組織與日常生活之間微觀政治的纏綿關係。

這樣的描述行為有多種形式：一種語法，一份記錄，一個手勢，一部傳記——又或者是一個在北京的實驗，『家作坊』。從2008-2013年，她和其他成員將北京一條老胡同當中一的個臨街店鋪改造成家居工作兩用空間，並在此與其所在社區周邊的公共空間進行互動。雖然家作坊在2014年已被一間咖啡館「第二次士紳化」，何穎雅不斷對社會政治體系的深層結構法則發出提問，目前是通過出版——『點點宣傳部』(2017年至今）和『出版工作室珠三角』（2018年至今）、廣播——《鄭氏廣播電台》（2016年至今）和『空中媽咪』（2020年）——以及作為『展銷場』的同謀來研究自下而上的社會組織與「低端全球化」。

何穎雅平日好飲鴛鴦。

Elaine W. Ho (HK/USA) arbeitet an der Schnittstelle von zeitbasierter Kunst, Sprache, urbaner Praxis und Design. Ihr vielschichtiges Vokabular untersucht Möglichkeiten unterschiedlicher Mikropolitiken und Subjektivitäten einer intimen, vernetzten Produktion.

Den Akt des Beschreibens überträgt sie in vielfache Formen, — als Gesten, Dokumentationen oder Biographien. Diese finden sich wieder im Experiment HomeShop, ein von Künstlern organisierter Projektraum in Peking, den sie 2008 initiierte und der bis 2013 aktiv war. Fragen an den gesellschaftspolitischen Syntax lotet Elaine W. Ho in zahlreichen Kollaborationen aus, zuletzt mit • • PROPAGANDA DEPARTMENT (seit 2017) im Medium Print, mit Widow Radio Ching und #RADIOHED als Piraten-Radiosendung (seit 2016), sowie mit der nomadische Plattform Display Distribute (seit 2015), die Zwischenräume des globalen Handels und Bottom-Up Bewegungen erkundet.

Gerne trinkt sie Kaffee und Tee vermischt und veröffentlicht regelmäßig Beiträge auf www.iwishicoulddescribeittoyoubetter.net.

作為一名時基藝術、語言、都市實踐及設計工作者，何穎雅的作品多藉由多維度的藝術詞彙探索微觀政治、主體性和基於親密關係之網結生產的能代性。她的藝術勞動曾經出現於：多瑙河上的一艘叫Eleonore的船（林慈，2016年）、新加坡雙年展（2019年）、Mediacity雙年展（首爾，2018年）、漢堡火車站當代美術館（柏林，2017年）、上海當代藝術博物館（2016年）、廣東時代美術館（2015年）、Spring工作室（香港，2015年）、新國家博物館（柏林，2014年）、泰特现代美术馆（倫敦，2014年）、家作坊（北京，2008-2013年）、各種街頭，等。

近年何穎雅也成為移動藝術－研究平台『展銷場』的共谋犯，研究自下而上的社會組織與「低端全球化」。她平日好飲鴛鴦。

Elaine W. HO works between the realms of time‐based art, language, urban practice and design. With a background in Art and Art History from Rice University, praxis and utility led her through to the field of fashion design (Parsons School of Design, 1999-2001; Academy of the Arts Arnhem, 2001-2004) which was subsequently unlearned and deconstructed via an MA programme in Critical Theory, Art and Social Thought (European Graduate School, 2007-2010). These extended forms of study led to HomeShop (Beijing, 2008-2013), the artist-run project space founded by Ho and collectively self-organised as a living and working experiment amidst the aporetic spaces of contemporary Chinese socialist capital. She continues to explore such questions of self-organisation through collaboration, writing, performance and time-based installation, most recently as a fellow at the Institute for Spatial Experiments (2015) and co-conspirator with Display Distribute (2015-ongoing).

Her work has been previously presented on a boat named Eleonore, docked along the Danube River (Linz, 2016), Singapore Biennale (2019), Mediacity Biennale (Seoul, 2018), the Power Station of Art (Shanghai, 2016), Guangdong Times Museum (Guangzhou, 2015), Spring Workshop (Hong Kong, 2015), Neue Nationalgalerie (Berlin, 2014), Tate Modern (London, 2014) and on various street corners, among other places.

Elaine W. HO wanted to be a writer when she was growing up and was always encouraged and told she could do so until one fateful failure at the age of 18. A piece of suspectedly 'foreign' flavoured writing cast her into the ranks of an elementary level English course, crushing her dream and changing her path from that point forward. She continues to struggle with lessons in failure on a frequent basis, though the counter to that is that she can now write from time to time, in the most free and unlearned way ever.

Elaine likes to drink coffee and tea mixed together and is a frequent contributor at www.iwishicoulddescribeittoyoubetter.net.

Elaine W. HO works between the realms of time-based art, language, urban practice and design, and what this really means is that there are many forms of study, and many kinds of people involved. These are questions about a latent commons, questions about the sociopolitics of syntax, and questions about voices in a social space. She has worked with audio recording since 2003, but her first experiment with radio broadcast took place in 2016 from a boat on the Danube River. Listen at www.widowradioching.stream.