倪灝 Ni Hao

1989 年生於新竹，現生活與工作於新竹。2011 年取得芝加哥藝術學院（School of the Art Institute of Chicago）藝術學士學位，2014 年取得羅德島設計學院（Rhode Island School of Design）雕塑碩士學位。其創作橫跨雕塑、裝置、動力機械、影像與聲音，並經常以「騷靈」（poltergeist）作為思考物件、力量與非語言溝通的核心意象，探問無形力量如何透過物件、動作、聲響與殘留顯現。

倪灝的作品經常進入已在日常生活中運作的系統，包括空調與過濾、金融與消費、匿名市場、身體訓練與家庭日常，並將其重新安置為仍在持續運作的雕塑結構。濾網、信用卡、樹脂硬化的衣物、機械、襪子與影像等物件，在他的作品中不只是材料或題材，而是承載制度壓力、身體痕跡、親密關係與慾望流通的媒介。作品常以呼吸、震動、滲漏或輕微故障等狀態，使日常秩序底下的力量關係變得可感。

近年的襪子系列以台灣匿名網路戀物市場為起點。倪灝向不同性別、職業與社會背景的賣家購買穿過的襪子與賣家自行拍攝的影像，使真實交易及其紀錄一併進入作品。襪子經樹脂硬化為身體離場後的空殼，影像則保留穿上與脫下的日常動作。該系列於 2025 臺北雙年展發表後，引發國內外藝術媒體與評論關注。

倪灝近年個展包括《The Air Beneath Our Feet》（T293，羅馬，2024）、《AHU：踏入乙太》（海馬迴光畫館，台南，2024）、《AHU Trilogy Part I: The Great Filtration》（T293，羅馬，2022）、Liste 藝術博覽會個人項目《The Lathery Enfold》（巴塞爾，2022）與《伏擊》（臺北市立美術館，臺北，2019）。其作品曾展出於香港巴塞爾藝術展、Basel Social Club、北京 UCCA 尤倫斯當代藝術中心、韓國國立現代美術館（MMCA）、光州雙年展 Pavilion Project 與 Palais de Tokyo 合作項目、臺北當代藝術館等，並獲韓國國立現代美術館（MMCA）、香港錄影太奇媒體藝術收藏（VMAC）、義大利 Collezione Taurisano 等機構收藏。曾受邀為瑞士日內瓦 Arts at CERN 歐洲核子研究組織客座藝術家，並參與首爾 MMCA Changdong 與瑞士 La Becque 國際駐村。2024 年與 Balenciaga 合作第 53 季高級訂製系列。其創作與展覽亦曾獲《The New York Times》、《Artforum》、《Frieze》、《e-flux》、《ArtReview》與《ARTnews》等國際媒體與藝術刊物報導與評論。

Ni Hao was born in Hsinchu, Taiwan in 1989, and currently lives and works in Hsinchu. He received his BFA from the School of the Art Institute of Chicago in 2011 and his MFA in Sculpture from the Rhode Island School of Design in 2014. Working across sculpture, installation, kinetic systems, video, and sound, his practice frequently returns to the figure of the poltergeist as a central image for thinking through objects, force, and nonverbal communication, asking how unseen forces appear through objects, gestures, sounds, and residues. Ni's work often enters systems already operating within everyday life, including air conditioning and filtration, finance and consumption, anonymous markets, bodily discipline, and domestic routine, and re-hosts them as sculptural structures that continue to run. Filters, credit cards, resin-sealed garments, machines, socks, and videos appear in his work not merely as materials or subjects, but as carriers of institutional pressure, bodily traces, intimacy, and the circulation of desire. His works often breathe, tremble, leak, or quietly malfunction, making the forces beneath ordinary systems available to the senses.

His recent sock series begins in Taiwan's anonymous online fetish marketplace. By purchasing worn socks together with videos filmed by sellers of different genders, professions, and social backgrounds, Ni brings actual transactions and their documentation into the work itself. The socks are hardened in resin into shells of bodily absence, while the videos preserve the everyday gesture of putting them on and taking them off. Presented at the 2025 Taipei Biennial, the series drew critical attention from art media in Taiwan and internationally.

Recent solo exhibitions include The Air Beneath Our Feet at T293, Rome (2024); AHU: Walking in Ether at Fotoaura Institute of Photography, Tainan (2024); AHU Trilogy Part I: The Great Filtration at T293, Rome (2022); the solo presentation The Lathery Enfold at Liste Art Fair, Basel (2022); and Ambush at Taipei Fine Arts Museum, Taipei (2019). His work has been shown at Art Basel Hong Kong, Basel Social Club, UCCA Center for Contemporary Art in Beijing, the National Museum of Modern and Contemporary Art in Seoul, the Gwangju Biennale Pavilion Project with Palais de Tokyo, and MOCA Taipei, and is held in the collections of MMCA Korea, the Videotage Media Art Collection in Hong Kong, and Collezione Taurisano in Italy. He has served as a guest artist at Arts at CERN in Geneva and completed residencies at MMCA Changdong in Seoul and La Becque in Switzerland. In 2024, he collaborated with Balenciaga on its 53rd Couture Collection in Paris. His work and exhibitions have also been featured or reviewed in The New York Times, Artforum, Frieze, e-flux, ArtReview, and ARTnews.