趙剛此次個展的油畫作品啟發自中國哈爾濱。畫布上絹印印樣的攝影影像，拍攝的是曾在十八世紀末到十九世紀初期被數個世代的猶太裔俄國難民為逃避暴力而當作棲身之所的城市。透過趙剛自身的滿族身份，也就是從中國東北移居別地的滿人，外來文化也形塑著現代中國。
　　　　　　
在中國古代的歷史中，滿人與漢人的衝突不曾停歇。十二世紀時，由滿州女真族創建的金朝侵略了北宋，並在東北佔地為王。十六世紀時，滿洲又再次侵略中國，滿清推翻了明朝。如同當年的女真金朝，清朝也同樣的被吸收漢化。
　　　　　　
在兩個土地和文化的狹窄空間，以及俄羅斯所建造中國東方鐵路中心節點，趙剛用攝影記錄下了他所想像的哈爾濱，並透過在影像上的繪畫探索了一個近乎烏托邦的空間。趙剛的作品中的哈爾濱與個人敘事共鳴，點綴著轉移、移民、與越境。再一次，趙剛邀請觀眾一起探索這些歷史敘事，就如同這些故事是如何與他緊緊相扣。
　　　　　　
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“Zhao Gang: Diluted Retrospective” opens this Friday at 7PM, we hope you can join us!
　　　　　　
The solo exhibition of Zhao Gang is inspired by Harbin, China. A set of photographs with enlarged silk screen contact sheets depict the city that was once a refuge for generations of Jewish Russian immigrants fleeing the violent pogroms of the late 18th and early 19th century. Through Harbin, Zhao contemplates his own Manchu identity, the Manchurian migration out of Dongbei (Northeast China), and the role this outsider culture played in shaping modern China.
　　　　　　
Through out Chinese antiquity, the Manchu people were in conflict with the Han Chinese. The Jurchen Manchu’s of the Jin Dynasty invaded the Northern Song territories bordering their Dongbei@homelands throughout the 12th century. In the 1600’s the Manchu’s would again invade China, conquering the Ming Dynasty and establishing the Qing Dynasty. But like the Jin before them, the Manchu Qing would assimilate and Sinicize.
　　　　　　
A liminal space between two lands and cultures, and the central node of the Russian-built Chinese Eastern Railroad, the imagined Harbin is captured in Zhao’s unique photographic artworks. It is a near-utopian space, historically tied to migration and dotted with movements, border-crossings, and stories of assimilations. Again, Zhao invites us to uncover a narrative as much tied to history as it is to himself.

趙 剛 回 顧 展
展期｜2019. 04. 12 − 2019. 05. 18
地點｜Each Modern 亞紀畫廊・台北市大安區信義路四段156號

Zhao Gang：Diluted Retrospective
Meteors｜2019. 04. 12 − 2019. 05. 18
Venue｜Each Modern・156 Sec. 4 Xinyi Road Taipei Taiwan