Bianca Bondi｜物质变幻与生态隐喻
Bianca Bondi | Metamorphic Matter and Ecological Allegory
Writer: zhuo
Date: 09/03/2025
Keywords: ecological / spiritual symbolism
Date: 09/03/2025
Keywords: ecological / spiritual symbolism
BiancaBondi曾在多个国际知名艺术机构举办个展，包括德国巴登巴登弗里德•布尔达博物馆（2024）、美国达拉斯当代艺术中心（2023）、西班牙马德里LaCasaEncendida艺术中心（2023）、 留尼汪圣但尼LaCitedesArts艺术中心（2023）、法国塞特 CracOccitanie（2022）、法国路易威登基金会（2021）等。她的作品也广泛参与国际群展，展出机构包括沙特阿拉伯利雅得Noor Festival（2023）、巴黎LafayetteAnticipations（2023）等。此外，她的作品还亮相于多个重要的国际双年展，包括里昂双年展（2019）、釜山双年展（2020）、泰国双年展（2021）、光州双年展（2024）。2024年，Bondi将作为2024/2025VillaMedici奖学金计划的驻留艺术家，在罗马美第奇别墅开展为期一年的创作与研究。
Bianca Bondi (b. 1986, Johannesburg, South Africa) lives and works in Paris, France. A graduate of the École Nationale Supérieure des Beaux-Arts de Paris (ENSBA), Bondi is a multidisciplinary contemporary artist whose practice spans installation, sculpture, and site-responsive environments. Her work centers on processes of material transformation, ecological metaphor, and spiritual symbolism. Employing elements such as water, salt, and metal—materials capable of spontaneous chemical reaction—she examines the dynamic interplay between natural and manufactured substances. In Bondi’s installations, matter is not a passive medium but an active, living agent: crystallizing, corroding, evaporating, and mutating over time. These processes become metaphors for fragility, entropy, and ecological cycles, foregrounding the temporal dimension of material existence.
Bondi has presented solo exhibitions at major international institutions, including the Museum Frieder Burda, Baden-Baden (2024); Dallas Contemporary, USA (2023); La Casa Encendida, Madrid (2023); La Cité des Arts, Saint-Denis de La Réunion (2023); CRAC Occitanie, Sète (2022); and the Fondation Louis Vuitton, Paris (2021). Her work has also been featured in significant group exhibitions such as the Noor Riyadh Festival, Saudi Arabia (2023), and Lafayette Anticipations, Paris (2023). She has participated in prominent international biennials including the Lyon Biennale (2019), Busan Biennale (2020), Thailand Biennale (2021), and Gwangju Biennale (2024). In 2024, Bondi was appointed as a resident artist for the 2024–2025 Villa Medici Fellowship in Rome, where she will undertake a year-long period of research and production.
PNEUMA,Glass, saline solutions, string, artificial plants, antique debris (chandelierparts. rusty nails, marble fragments, amphores, coral, a key...), 2024
Bianca Bondi通过探索物质的演变，使作品成为“活着的存在”，它们在环境影响下持续变化，并与时间互动。她的作品往往基于长期实验，她选择那些能够自我演化的材料，使作品处于持续变化的过程之中。她关注的并非单一瞬间的凝固状态，而是物质的生长、消解和重塑过程，从而模糊了静态雕塑与动态装置之间的界限。这种对材料特性的精确把握，使她的作品拥有独特的诗意张力，同时也蕴含着对自然循环系统、灵性与人类活动关系的深度思考。
Through sustained experimentation, Bondi conceives of her works as “living entities” that continue to evolve under environmental influence. Rather than privileging a fixed sculptural state, she emphasizes duration, growth, dissolution, and reconfiguration. By selecting materials capable of self-transformation, she situates her installations within an ongoing temporal process, thereby destabilizing the distinction between static sculpture and dynamic system. This meticulous engagement with material agency imbues her work with a distinct poetic tension while articulating a broader inquiry into ecological systems, spirituality, and the entanglement of human and nonhuman forces.
在Pneuma中，Bondi 探讨了生命力的可视化，这既是一件装置作品，也是一场关于时间、变化和循环的实验。Bondi通过特定的材料组合——液体、盐、水、金属、矿物质以及有机物，让它们在展览过程中持续发生化学反应，模拟有机与无机、生长与消解、呼吸与静止之间的关系。这件作品并非一个固定的雕塑，而是一个在环境中不断演化的微生态系统，在观众面前缓慢地生成、腐蚀、结晶、溶解。
In Pneuma, Bondi investigates the visualization of vital force through an installation that operates simultaneously as an experiment in time, transformation, and cyclical process. Utilizing liquids, salt, metals, minerals, and organic substances, she orchestrates chemical reactions that unfold gradually over the course of the exhibition. The work simulates the interrelations between organic and inorganic matter, growth and decay, respiration and stasis. Rather than a fixed sculptural object, Pneuma functions as a micro-ecosystem—an environment in which crystallization, corrosion, and dissolution occur in real time before the viewer.
PNEUMA,Glass, saline solutions, string, artificial plants, antique debris (chandelierparts. rusty nails, marble fragments, amphores, coral, a key...), 2024
Bianca Bondi的沉浸式装置犹如守护者，引领水之灵进入空间。她刻意拒绝在人类与非人类之间建立等级秩序，而是以一种全球化的生命观念，促使人们意识到生态系统的脆弱性，并强调我们需要重新思考人与环境的关系。她的创作在化学反应与神秘仪式之间游走，水成为了再生与转化的空间，使她的作品宛若梦境的延展。这种实践在作品Tidal Spill中得到了体现——其中蕴含着物质之间的光晕与变化潜能，造就了一种近乎炼金术般的象征关联。而在装置Scrying in Astral Ponds中，生物有机层与盐水相互作用，水晶因接触盐水而发生色彩变化，最终在作品核心处凝聚交汇，构建出一个充满灵性流动的场域。
Bondi’s immersive environments often resemble ritual sites or guardians of elemental forces. Rejecting hierarchical distinctions between human and nonhuman life, she advances a cosmological perspective that underscores ecological fragility and calls for a reexamination of humanity’s relationship to its environment. Her installations oscillate between chemical experiment and ceremonial gesture, with water serving as a medium of regeneration and transmutation. In Tidal Spill, halos of mineral reaction and material flux evoke an almost alchemical symbolism, while in Scrying in Astral Ponds, organic layers interact with saline solutions, crystals changing color upon contact with saltwater, ultimately converging into a spiritually charged field of material exchange.
TIDAL SPILL, 2023, SCRYING IN ASTRAL PONDS, 2024
Exhibited at the Villa Medici, Rome in the exhibition Siren Songs.Jacquard tapestry: wool, metallic thread, silk, cotton,
and stabilizedflowers, copper, salt water, stabilized moss and flowers, tree trunks, 160 cm x 500 cm
作品Forest Bathing本质上是一个环境装置，它不仅仅是由静态物品组成，而是结合了气味、湿度、光影、化学变化、材料演化等元素，共同塑造出一个不断变化的场域。Bondi 在作品中融入了植物提取物、矿物、海盐、铜、蜡等能够与环境产生相互作用的材料，使整个空间呈现出有机生态的特征。
Forest Bathing的名称来源于日语 “Shinrin-yoku”（森林浴），意指通过沉浸在森林环境中来促进身心健康的自然疗法，空气的湿度、光的折射、矿物质的挥发性气息都成为作品的一部分，强化了一种身临其境的感官体验。这种做法延续了她的“活体装置”概念——作品在展览期间并非静止的，而是持续地转化和生长。这种变化不仅仅是物理性的，更是心理性的，它让观众仿佛置身于一个异质但熟悉的森林空间，触发情绪上的疗愈体验。
Forest Bathing operates as an environmental installation composed not of static objects but of atmosphere: scent, humidity, light refraction, chemical reaction, and material evolution converge to create a continuously shifting spatial condition. Bondi incorporates plant extracts, minerals, sea salt, copper, and wax—substances that respond to environmental variables—transforming the exhibition space into an organic, sensorial ecology.
The title references the Japanese practice of Shinrin-yoku (“forest bathing”), a therapeutic immersion in natural environments intended to restore physical and psychological well-being. In the installation, vapor, mineral scent, and refracted light intensify the immersive experience, extending Bondi’s concept of the “living installation.” The work does not remain inert; it grows, decays, and transforms throughout its duration. This evolution operates not only materially but psychologically, inviting viewers into a space that is at once alien and intimate, catalyzing an affective experience of restoration and vulnerability.
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FOREST BATHING, Antique pharmacy cabinets, found objects, salt, various saline and herbal solutions, oxidation on silk, fresh lemongrass, mint and other local herbs, fern, forest moss, 2024
而The Long Dark Swim则是Bianca Bondi近年来创作的一件深具象征意义的装置作品，它延续了她对水、盐、氧化、腐蚀、净化等物质演化过程的关注，同时也是对生态系统、身体体验与灵性转化的深入探讨。这件作品不仅仅是一种视觉上的构造，而是一个让材料与环境相互作用、在展览期间持续变化的生态系统。通过水下世界的隐喻，Bondi让这件作品承载着对深海、潜意识、记忆、时间、净化的多重思考，仿佛邀请观者沉入一个未知的世界，去经历一场既充满危险又带有神秘力量的旅程。
The Long Dark Swim continues Bondi’s sustained investigation of water, salt, oxidation, corrosion, and purification as processes of material and symbolic transformation. Conceived as an evolving ecological system rather than a static configuration, the installation engages with metaphors of the underwater realm—depth, subconsciousness, memory, duration, and renewal. The viewer is metaphorically submerged into a liminal environment where danger and regeneration coexist. Through this aquatic imaginary, Bondi stages a meditation on immersion as both risk and rebirth.
THE LONG DARK SWIM, 2024, Commissionned and produced by the 15th Gwangju Biennale, titled Pansori: a soundscape of the 21st century. 15 tonnes of salt, artificial plants, pigeon skeletons, silk shrouds, various other objects (ladder, landline, suspended circular mirror
Bianca Bondi的作品Incantare是一件围绕仪式性、物质转化与灵性能量展开的装置作品。在这件作品中，Bondi 以她一贯的实验性材料实践与跨学科方法论，将化学变化、炼金术、生态学和神秘学结合，构建出一个充满象征意义的“神圣空间”。在Bondi 的语境中，这件作品不仅仅是物质的呈现，更是一种关于能量、时间与空间的召唤，通过作品邀请观众进入一个既熟悉又陌生的神秘维度。
In Incantare, Bondi further articulates her engagement with ritual, material metamorphosis, and spiritual energy. Combining experimental material practices with references to alchemy, ecology, and mysticism, she constructs an installation that functions as a symbolic “sacred space.” Here, matter becomes a conduit for invisible forces—energy, temporality, and spatial resonance. The work invites the viewer into a threshold between the familiar and the esoteric, where chemical reaction and ceremonial atmosphere coexist.
INCANTARE, 2024, Group exhibition, Gallery Thaddaeus Ropac, Pantin, France, 3 tonnes of sand, Five corten steel bowls (between 60 and 80 cm diameter), tinted salt water, stabilised vegetation.
The mobiles : Brass and found fragments - Roman and Greek empire antique glass shards, twigs, beads, various animal bones, bronze fragments, amethyst, aquamarine and other unpolished precious stones, stabilised flowers (orchids, hydrangeas) alunpotassium crystals
The mobiles : Brass and found fragments - Roman and Greek empire antique glass shards, twigs, beads, various animal bones, bronze fragments, amethyst, aquamarine and other unpolished precious stones, stabilised flowers (orchids, hydrangeas) alunpotassium crystals
Bianca Bondi的艺术实践游走于物理与灵性、科学与神秘、生态学与考古学的边界，她以高度实验性的材料语言构建出一个个自我演化的装置，在时间的流动中见证物质的腐蚀、转化与再生。这种对时间、物质和自然法则的关注，使她的创作既具有仪式性的沉浸感，也带有科学实验的精准性，展现出一种独特的跨学科艺术语言。她的创作不仅关乎物质的演变，也关乎人与环境的关系。Bianca Bondi提醒我们：生态系统并非稳定的，而是处于不断流动与再生的循环之中。她将自然的化学变化与人类的工业历史交织在一起，使我们在她的装置中看到人类活动如何塑造、侵蚀甚至重塑自然，同时也见证自然如何在无形的时间进程中完成对自身的疗愈。
Bondi’s artistic practice traverses the boundaries between physics and metaphysics, science and mysticism, ecology and archaeology. Through an experimental material language, she constructs self-evolving environments that witness corrosion, transformation, and regeneration over time. Her attention to duration and natural law lends her work both the immersive aura of ritual and the analytical precision of scientific inquiry. Ultimately, Bondi’s installations address the entangled relationship between humanity and environment. By interweaving natural chemical processes with the residues of industrial history, she reveals how human intervention shapes, erodes, and reconstitutes ecological systems—while simultaneously demonstrating nature’s capacity for self-repair within the slow temporality of matter.
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WILD AND SLOW, 2022, This installation has been exhibited at the Palazzo Bollani,Venice (2022); and Fondation Fiminco, Paris (2022), Installation including chrome, brass and velvet bar andstools, brass lighting, glasses and bottles containinghalobacteria, ashtray and cigarettes, glove, book, and salt.(left)
SYNONYMS FOR SINKHOLES(THE HOURS THAT PASS DEVOUR US), 2021, Site specific installation, CIAP Vassivière, Mixed media ( salt, salt water, copper coins, crystal ball) (right)
SYNONYMS FOR SINKHOLES(THE HOURS THAT PASS DEVOUR US), 2021, Site specific installation, CIAP Vassivière, Mixed media ( salt, salt water, copper coins, crystal ball) (right)
FOREST BATHING, Antique pharmacy cabinets, found objects, salt, various saline and herbal solutions, oxidation on silk, fresh lemongrass, mint and other local herbs, fern, forest moss, 2024