PUNCH 敲 (WIP)

In PUNCH 敲, Bu delves deeper into the performative rhythms embedded in her daily life, where post-objects act as subtle traces of living, creating, and the passage of time. This immersive installation — comprising film, performance video, video essay, sculptures, and publicly engaged live actions — unfolds as an intimate chronicle of time, told through the physical and sonic act of punching.

Here, words become relics: imprints of time hammered directly onto aluminium — a material chosen for its memory, its cold sharpness, and its loud, unfiltered voice. Punching becomes Bu’s new form of journaling: raw, immediate, and honest — a self-dialogue that transcends the confines of spoken language.

This exhibition is an invitation to engage with the phenomenology of material — to think through metal, to communicate through sound, mark, and wound. It is performance entwined with everyday life, a surrender to the desire to be heard and understood without translation. Sculptures, video, sound, and participatory performance converge into a living dialogue between artist, material, and audience.

Through the repetitive, forceful act of punching, Bu reclaims the primal energy of mark-making — evoking early human expressions, a monkey’s urge to create sound. In doing so, she interrogates the dual nature of language — its power, its violence, its capacity to wound — while proposing the possibility of healing through transformation: word into action, mark into presence, sound into connection. Sound becomes language — elemental, embodied, and immediate.

Now, what remains visible are the relics of those sounds — echoes imprinted in metal, traces of a voice that once struck the air.

在艺术家卜经纬的沉浸式装置艺术展览《PUNCH 敲》中，她以将字母敲打进铝板为日记，将语言化为声音与痕迹，记录日常、时间与身份的流动。展览融合影像、雕塑和公众参与的行为艺术表演，探索材料的现象学与语言的暴力与疗愈。敲打这个动作成为原始表达的回归，是一种无需翻译的自我对话。展览馆中的所见，正是那些敲打声音的遗迹——经由空气击打的痕迹，印入金属的回响。

Supported by Creative Australia and Arts South Australia and curated by Andrew Purvis, PUNCHING will be exhibited at the Central Gallery from 3 June to 11 July 2025.

Photo by Hailun Wang