Danh Vō’s first solo exhibition at White Cube’s Hong Kong outpost offers timely reflections on questions about identity. Pictured: installation view

尽管他戏剧性地展示了猛犸化石，但丹赫五世(DanhVō)在白立方香港前哨举办的第一次个展，对现代身份问题进行了及时反思。

这位出生在越南的丹麦艺术家收藏了大约450具古代遗骨和一尊17世纪的基督象牙雕像-悬挂在画廊顶层的天花板上-之前曾展出过，这是他2015年在马德里举办的“放逐无脸/奖励阁下”展览的一部分。在这里，它在明亮的、纯粹的白色画廊中呈现出一个新的维度。

该剧的策展人、白方导演马蒂厄·帕里斯(Mathieu Paris)说，它有着与以前完全不同的能量和精神。“他喜欢把工作安排在一个空间里，从房间里拿出形式来创造新的对话。”

与此同时，一楼提供了一个鲜明的对比，只有两件作品：16世纪基督的头部雕塑在当代冰箱内，上面是罗马的狮子雕塑。附近，是艺术家标志性的金叶百威盒。

帕里斯解释说，他和碎片一起工作。例如，象牙雕塑是对象牙贩运的反思，突出了材料与信息之间的对抗。

与他的作品一样，这次展览是对他和他的家族历史的强烈反思。V出生在越南南部，在丹麦长大后，由一艘丹麦的商业油轮从他父亲建造的一艘船中解救出来，目的是逃离这个国家。

这位艺术家说，他特别喜欢在香港展出，至少因为作为一个经济和政治难民的城市，它反映了自己对位错的看法。

The Vietnamese-born Danish artist’s collection of some 450 ancient bones and a 17th-century ivory statue of Christ suspended from the ceiling of the gallery's upper floor has been shown before, as part of his 2015 ‘Banish the Faceless/Reward your Grace’ exhibition in Madrid

The installation takes on a new dimension within the brightly-lit, sheer white enclaves of the White Cube

The ground floor, meanwhile, provides a stark contrast with just two works: a 16th-century sculpture of Christ's head inside a contemporary fridge topped with a Roman sculpture of a lion

Born in South Vietnam, Vō grew up in Denmark after being rescued by a Danish commercial tanker from a boat his father had constructed in order to flee the country

The artist says he was especially keen to exhibit in Hong Kong, not least because, as a city of economic and political refugees, it reflects his own mediations on dislocation

keywords:White Cube, Sculpture

关键词：白色立方体雕塑