1984 年生于内蒙古,现生活工作于北京。2013 年毕业于中央美术学院。无论是被视作真实的事物,还是与物件及物质相作用过程的心理本质,都是娜布其艺术创作的长期主题。从手工塑造的雕塑作品,到应用了大量现成物的装置作品等,娜布其的艺术实践一直牵引观众前去观察细节及语境,去适应并考虑虚构与实在之间的复杂关系。娜布其由此建立的领域强调我们对周遭世界的理解,并将我们引入关于空间政治的探索中去。通过讨论自然、私人空间等熟悉的主题,娜布其将观者引入关于 “在场” 的思辨之中,让观者反思其感知面对之物在当下、过去及未来状态的方式。娜布其的庞杂装置作品因此指向了我们的认知习惯,并以智慧及戏剧性鼓励我们反思既定思维模式的意义。

娜布其曾参加多个重要国际展览,包括:“绿幕游戏”(木木美术馆,北京,2024);“一切都回到了开始的地方”(西岸美术馆,上海,2022);“镜像:中国身份的转变”(亚洲协会博物馆,纽约,2022);第一届迪里耶双年展 “摸着石头过河”(2021);“暗光”(昊美术馆,上海,2020);“格物致知。或一则关于喷泉,砖,锑,硬币,蜡,石头,贝壳,窗帘和人的故事”(广东时代美术馆,广州,2020);第 58 届威尼斯双年展主题展 “愿你生活在有趣的时代”(2019);“寒夜”(UCCA 尤伦斯当代艺术中心,北京,2017);“缺失的段落”(Museum Beelden aan Zee,海牙,2017);“球场”(中央美术学院美术馆,北京,2017);第 11 届上海双年展 “何不再问:正辩,反辩,故事”(2016)以及第 11 届光州双年展 “第八气候:艺术何为”(2016)。2016 年,娜布其入围华宇青年奖。

Born in Inner Mongolia, China, 1984, Nabuqi lives and works in Beijing. She graduated from the Central Academy of Fine Arts (CAFA) in 2013. Whether it is what we perceive as real, or the psychological nature of how we engage with objects and material, all of these are running threads throughout the works of Nabuqi. Ranging from handmade sculptures to installations made from assembling readymades, there is a pull for the viewer to engage with detail and context, to be attuned to and reflect upon the spectrum between artificial and actual. As such, Nabuqi creates realms that prompt our understanding of the world around us and engage us in a play of spatial politics. Through addressing the familiar—nature, domesticity—the viewer is more deeply engaged in considering “presence”, how one perceives what is in front of them at present, what it was before and will be in the future. Nabuqi’s elaborate installations thus point to our epistemological idiosyncrasies and prompt, with wit and theatricality, a reflection on our constructed norms.

Nabuqi’s work has been widely exhibited in notable international exhibitions including: “Nabuqi: A Question is Also a Form of Sculpture” (M WOODS 798, Beijing, 2024); “Everything goes back to square one” (West Bund Museum, Shanghai, 2022); “Mirror Image: A Transformation of Chinese Identity” (Asia Society Museum, New York, 2022); the 1st Diriyah Biennial “Feeling the Stones” (2021); “Noire Lumière” (HOW Art Museum, Shanghai, 2020); “Study of Things. Or A Brief Story about Fountain, Brick, Tin, Coin, Wax, Stone, Shell, Curtain and Body” (Guangdong Times Museum, Guangzhou, 2020); the 58th Venice Biennale “May You Live In Interesting Times” (2019); “Cold Nights” (UCCA Center for Contemporary Art, Beijing, 2017); “Absent Paragraph” (Museum Beelden aan Zee, Den Haag, 2017); “Any Ball” (CAFA Art Museum, Beijing, 2017); the 11th Shanghai Biennale “Why Not Ask Again: Arguments, Counter-arguments, and Stories” (2016) and the 11th Gwangju Biennale “The Eighth Climate (What Does Art Do?)” (2016). She was nominated for the 2016 Art Sanya Huayu Youth Award.