THE SHOPHOUSE is pleased to present Collective Digestion of Dau6 Fu6 Fo2 Naam5 Faan6, the first solo exhibition by Oslo-based Hong Kong artist Yu Shuk Pui Bobby with the gallery. The exhibition features a range of new works including video, soft sculpture, found objects, and photographs, exploring the evolving socio-cultural significance of food within the context of familial labor and the shifting gender roles that accompany it.

Utilizing the visual and cultural framework of Economy rice, the works reflect on the artist’s familial transitions—from the father was the primary economic provider, to a dual-income family structure, and eventually to a post-retirement scenario in which the mother assumes full financial responsibility. This transformation offers a lens through which to explore the reallocation of domestic responsibilities.

The video work Daddy’s Dinner is a short film that captures the bond between three friends living together in a cozy Oslo apartment. The story unfolds as they exchange cherished family recipes, symbolizing their shared experiences and deepening friendships. Filmed in their soon-to-be-vacated apartment, the film blends reality with a surreal twist, as eerie elements beneath the dining table evoke the unresolved tensions with their fathers.
The friends, in spite of these difficulties, discover comfort in the act of cooking and sharing meals, which serves as a testament to their resilience and the lasting power of their friendship.

The eponymous work printed on Hong Kongese porcelain memorial placards is Yu Shuk Pui Bobby’s response to online users from a forum 14 years ago, using a common dish from local fast-food restaurants—Dau Fu Fo Naam Faan (Tofu and Roasted Pork Rice)—as a medium to explore the evolution of same-gender romantic relationships and subsequently, the changes in the artist's family structure. The images are stills from the video work exhibited in the same exhibition.

The exhibition examines the emotional importance of food within the context of familial roles and labor. It further contemplates the transformation of meanings over generations, delving into the ways in which food serves as a vessel for emotions, fostering a healing influence in the artist's familial narratives.

The exhibition is supported by Office for Contemporary Art Norway (OCA) and Kulturdirektoratet.

THE SHOPHOUSE欣然呈獻生活工作於奧斯陸的香港藝術家余淑培（Yu Shuk Pui Bobby）於畫廊的首次個展「集體消化的豆腐火腩飯」（Collective Digestion of Dau6 Fu6 Fo2 Naam5 Faan6）。展覽展出一系列不同媒介的作品，包括影像、軟雕塑、現成物，攝影等，探索食物在家庭勞動背景下不斷演變的社會文化意義，以及隨之而來的性別角色轉變。

展覧以碟頭飯這一道快餐店常見的菜式為媒介，剖析藝術家家庭結構的演變——從父親單獨支撐家庭經濟，到雙薪家庭模式，再到父親退休、母親成為家庭經濟支柱的轉變過程，映射出家庭角色的再配置。

影像作品《在爸爸們的飯桌一起交換食譜》講述三個朋友同住在奧斯陸公寓交換家傳食譜。影片在他們即將搬離的公寓拍攝，融入了超現實元素，餐桌下的神秘細節暗示了他們與父親之間未解的矛盾。儘管如此，他們最終在烹飪和共享餐點中找到了平靜。

同名瓷像作品是余淑培對14年前高登平台網友的回應，使用香港快餐店常見的菜式——豆腐火腩飯——作為媒介，探討單一性別浪漫關係的演變，進而剖析藝術家家庭結構的變遷。影像素材來自於同場展覽中的錄像作品多個截圖。

「集體消化的豆腐火腩飯」探討家庭分工中食物的情感意義，並反思這些意義如何在不同代際間轉化，深入挖掘食物作為一種情感載體，在藝術家原生家庭歷史中之間如何創造治癒的作用。

此展覽獲得Office for Contemporary Art Norway（OCA）和 Kulturdirektoratet 的支持。

THE SHOPHOUSE is pleased to present Dream Atlas, the solo exhibition by Oslo-based artist Chen Jinbin, featuring a new body of paintings created during his residency. With touches on themes of encounter and desire, the exhibition investigates the evolution of power dynamics in relation to shifts in intimacy and alienation, as well as activeness and passivity, while delving into concepts surrounding gender, sexuality, and the physical body, alongside masculinity and vulnerability.

Chen Jinbin's latest works explore the intricate relationship between the perception and consumption of images in the digital era. This relationship is characterized by its fragmented nature, which invites various interpretations and potential misunderstandings, influenced by factors such as culture, context, time, and the intentions of the viewers.

Numerous references in Chen Jinbin's artistic process are inspired by ancient Chinese poetry and Western classics, along with photographs gathered from his daily experiences. He employs a fragmented approach, integrating these images with others he has discovered or captured himself. By removing these visuals or collages from their original context, he transforms them into a state that exists between subject and object. This notion of ‘inbetweenness’ permeates all his paintings, intricately woven into the environments that encapsulate his themes of becoming and being.

In crafting environments that depict various scenes with his signature delicate color palettes, Chen Jinbin reveals a language of intimacy that deliberately avoids sexually explicit content. Instead, he formulates his own lexicon of desire, one that captivates the viewer's attention. In his portraiture, the masculine navigates a landscape of fluid gender identities, layering meanings that pertain to objectification, fetishism, and intimacy.

The exhibition is supported by Office for Contemporary Art Norway (OCA) and Tenthaus.

THE SHOPHOUSE欣然呈獻生活工作於奧斯陸的藝術家陳錦彬的個展「梦舆图」(Dream Atlas)，展出一系列於駐場項目期間完成的全新繪畫作品。展覽以「相遇」與「慾望」的主題切入，探討親密與疏離、流動與靜止間不斷轉變的權力動態，深入探討與性別、性欲、肉體、男性特質與脆弱相關的概念。

陳錦彬的最新作品探索數字時代人們的感知與圖像消費之間錯綜複雜的關係。這種關係的特點在於圖片碎片化的特質，在文化、情境、時間和觀者意圖等因素的影響下，引發各種詮釋和潛在的不同意義。

陳錦彬在創作時參考了中國古代詩詞與中西方歷史典故中的意象，以及他日常收集的照片。他將圖像從原本的環境中移除，用碎片化的方式與其他發現或捕捉到的圖像整合在一起，轉換成介乎於主體與客體之間的狀態——這種介於兩者之間的概念滲透在他所有的繪畫作品中，錯綜複雜般交織不同的語境中，一同詮釋關於 「生成 」（becoming）和 「存在」(being) 的主題。

陳錦彬以他標誌性的細膩色調描繪不同場景環境，揭示了一種刻意避免露骨性內容的親密語言。相反地，他創造出了屬於自己的慾望詞彙，吸引觀者的注意。在他的肖像創作中，男性在不固定的性別身分中穿梭，將物化、戀物主義和親密關係的意義層層堆疊。

此展覽獲得Office for Contemporary Art Norway（OCA）和 Tenthaus的支持。