Wah Yen

影片以1970年代格拉斯哥后工业景观为背景，讲述香港移民陈与苏格兰造船工人詹姆斯之间建立的跨文化友谊，细腻刻画一位神经多样性华裔移民在异质环境中的身体形变与精神轨迹。作品聚焦离散经历中的身体感知变异，通过两位主人公共同面对的创伤、历史变故与身体蜕变，深入探讨“成为自我”的存在论命题。

Wah Yen (2024) is a new moving image work by artist Wei Zhang. Set in 1970s Glasgow, the film explores the rich, inner world of a young, queer, and neurodivergent Chinese immigrant, Chen, who works in the city’s first Chinese restaurant, through their emerging kinship with Scottish shipbuilder, James. Wah Yen centres the neurodivergent experience of Chen, and how the pain and horror they face leads Chen and James to discover the meaning of change, empowering them to live authentically.

导演：喂張
编剧：喂張
主演：Clarinda Yung Tse, Katherine Ka Yi Liu
制片人：高轩
摄影：李思瑶、周薇
类型：艺术家电影
时长：29分钟
完成时间：2024年
对白语言：汉语普通话、英文
地区：英国

Director: Wei Zhang
Screenwriter: Wei Zhang
Cast: Clarinda Yung Tse, Katherine Ka Yi Liu
Producer: Xuan Gao
Cinematographer: Siyao Li, Wei Zhou
Genre: Artists’ Film
Length: 29 min
Year: 2024
Dialogue: Mandarin Chinese, English
Region: UK

1991年生于中国，是一位旅居苏格兰格拉斯哥的电影制作人与视觉艺术家。作为金斯顿艺术学院当代艺术博士研究员，其基于实践的艺术研究通过流动影像探索迁徙政治中的殖民性痕迹、身体形构的物质性辩证，以及语言边界在跨文化语境中的流动性。其方法论以东方志怪文化对阈限体的历史表述为基点，结合差异认识论与后人类伦理，揭示权力拓扑学对身体的铭刻与抵抗可能。通过档案拼贴、媒介杂交与声景装置的策略，作品在离散经验与集体无意识之间构筑批判性的考古学空间。作品曾参展2024年格拉斯哥国际艺术双年展、2025年阿德莱德艺穗节及2020年曼谷艺术双年展等。

Wei Zhang, born in China in 1991, is a filmmaker and visual artist currently based in Glasgow, Scotland. As a practice-based PhD researcher in Contemporary Art at Kingston School of Art, her artistic inquiry uses moving image to explore the colonial traces within migration politics, the materialist dialectics of bodily becoming, and the fluidity of linguistic boundaries in cross-cultural contexts. Drawing from East Asian zhiguai representations of liminal bodies and integrating epistemologies of difference and posthuman ethics, her work examines how topologies of power are inscribed on and resisted by the body. Through archival collage, media hybridity, and soundscape installation, she constructs a critical archaeological space between diasporic experience and the collective unconscious. Her works have been featured at Glasgow International 2024, Adelaide Fringe 2025, and Bangkok Art Biennale 2020.

《华苑餐馆》（2024）是喂張艺术生涯中的里程碑式作品。艺术家沉淀两年后，融合其标志性的数字时代混合视听语言，构建了一个思辨深刻的跨文化影像诗学空间。作品综合运用跨媒介拼贴、非线性剪辑、实验声景、行为表演、符号化异形生命体、软雕塑与传统叙事，形成独特的视听拓扑结构。艺术家通过对后工业景观的辩证呈现，勾勒出文化适应与身份重构的成长叙事；持续探索迁徙者的阈限状态，并对非典型身体形变进行细致描绘。影片以“创伤–重生”为叙事逻辑，既与英国华裔移民社群深度共鸣，也拓展了当代移民影像的表达疆域。

Wah Yen employs non-linear narrative and non-verbal filmmaking techniques, interweaving 3D animation, archival footage, and drag performances to create a dynamic visual language foregrounding underrepresented experiences and encouraging self-acceptance and intercultural exchange. Through navigating adversity, the film traces the protagonist’s empowering journey of courage. Both aesthetically captivating and narratively complex, Wah Yen invites diverse interpretations of its authentic yet fictional narratives, celebrating Scotland’s landscapes and cities. Resonating with marginalised communities – particularly Glasgow’s Chinese and queer residents – the work draws on the collective intelligence of queer Asians and is made in collaboration with Clarinda Yung Tse, Katherine Ka Yi Liu, Siyao Li, Wei Zhou, and Xuan Gao.