"YINART IN SPACE"作为

印际 YINART 版块下持续展开的专题系列，关注艺术与空间交汇的不同场域：从展厅、画廊、展览现场，到创作者的工作与生活空间、限定发生的临时场景，以及更贴近日常的居住与城市空间。

"YINART IN SPACE“ is an ongoing series under YINJISPACE’s YINART section, tracing the many settings where art meets space—from exhibition halls, galleries, and show installations, to artists’ studios and lived-in workspaces, temporary sites shaped by time-limited events, and the more everyday contexts of homes and the city.

每一期，我们都将从具体的空间出发。比起只讨论作品本身，我们更关心艺术如何进入空间，又如何在不同语境之中逐渐进入日常。透过这些真实而流动的场景，

印际希望记录艺术、空间与日常之间持续被讨论的边界，并由此沉淀出一种观看方法：理解艺术如何在日常里发生。

Each edition begins with a specific space. Rather than focusing solely on the works themselves, we pay closer attention to how art enters a space—and how, across different contexts, it comes into contact with everyday life. Through scenes that are real and in motion, YINJISPACE traces the shifting boundaries between art, space, and the everyday, and distills a way of looking: understanding how art can take place within daily life.

Remanencias 由墨西哥摄影师 Alejandro Ramírez Orozco 发起并策划，是一个围绕物件、建筑与摄影展开的展览项目，聚焦它们之间短暂而微妙的关系。它将设计、建筑与影像放在同一语境之中，追问一次相遇结束后会留下些什么——而摄影或许正是那个瞬间唯一得以留存的痕迹。

Remanencias is an exhibition project initiated and curated by Mexican photographer Alejandro Ramírez Orozco. It focuses on the brief, subtle relationships that form between objects, architecture, and photography. Bringing design, architecture, and image-making into a shared context, it asks what remains once an encounter ends—photography may be the only trace that can endure from that moment.

墨西哥摄影师Alejandro Ramírez Orozco

在统一的策展框架下，十四位活跃于墨西哥的创作者受邀完成不同类型的原创作品。物件并非以孤立的形式被观看，而是在进入空间、与周围发生链接的过程中，逐渐找到自己的位置。伴随着作品被带入墨西哥四座分布于不同城市的当代建筑，拍摄在现场同步展开；建筑鲜明的雕塑感与视觉张力，也成为影像生成的一部分。

Under a shared curatorial framework, fourteen creators active in Mexico were invited to produce original works across different typologies. The objects are not presented as isolated forms; they gradually find their place by entering the space and engaging with what surrounds them. The works were then brought into four contemporary buildings across Mexico, each located in a different city. Photographic sessions took place on site, and the architecture’s strong sculptural presence and visual tension became part of what shaped the images.

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相遇

ENCOUNTER

Remanencias 汇集了一群墨西哥本土或在墨西哥工作的创作者——从 Ramírez Orozco 本人，到多组建筑师与设计师。项目由影像、物件、文字、展览，以及建筑共同构成。尽管这些建筑并不以实体进入最终展场，它们的存在依然清晰可感：既在影像牢牢捕捉的细节与片段之中，也在建筑如何反向塑造作品与照片的呈现方式之中。

Remanencias brings together a group of Mexican and Mexico-based creatives—from Ramírez Orozco himself to multiple teams of architects and designers. The project is composed of several elements: images, objects, text, an exhibition, and architecture. Although the buildings are not physically present in the final display, their presence remains unmistakable—felt in the details and fragments firmly held by the photographs, and in how the structures, in turn, shape the way the works and images appear.

拍摄位于Casa Puertecito，由Goma Taller设计、位于瓦哈卡Puerto Escondido

抵达这一刻的旅程分阶段展开。Ramírez Orozco 一方面从墨西哥建筑师的住宅新作中选取四座，另一方面委托一组设计师创作十四件物件。每一件作品都带着创作者实践的性格；作为整体，它们也共享一些特征：明显的垂直性、丰富的触感，以及近乎图腾式的外观与形体。随后，这些物件被带到每一处建筑现场，在不同空间中被放置、调整，并在摄影记录中与建筑展开对话。

The journey to this point unfolded in stages. On the one hand, Ramírez Orozco selected four recent houses by Mexican architects; on the other, he commissioned a group of designers to create fourteen objects. Each piece carries the character of its maker’s practice, yet as an ensemble they share certain qualities: a pronounced verticality, rich tactility, and an almost totemic presence and form. The objects were then brought into each architectural site, placed and adjusted across varied spaces, and set into dialogue with the buildings through the photographic record.

在Puerto Escondido的灼热里，被沙、海与魔幻的落日包围，一座带着橙色调的纪念碑式结构，以概念上的严谨令人震撼；它层层退台的形式语汇，也向中美洲的过去致意

氛围

ATMOSPHERE

墨西哥的地貌跨度极大：雪山、森林、峡谷与山谷，肌理与气候在不同纬度里不断切换。这种丰饶，同样投射在当地的建筑与设计之中。它们正经历一个高密度的阶段。而最有力量的实践往往扎根于土地的质地与历史的痕迹，也扎根于具体的手工与建造过程。

Mexico’s landscape spans an extraordinary range: snow-covered peaks, cenotes, forests, canyons, and valleys sit side by side, with climate and texture shifting across latitudes. That richness is mirrored in the country’s architecture and design, now moving through a period of high intensity. The most compelling work is often rooted in the material character of the land and the marks of history—and equally in the craft and realities of making and building.

拍摄于

Casa Tierra

，由Aagnes   César Béjar Architecture设计、位于哈利斯科Tapalpa

选址与气质截然不同的四座住宅，却共享同一种状态：刚刚完工，尚未有人居住，也不再处于施工之中。许多空间的开口仍无窗框、门框与门扇。它们被定格在短暂的“中间地带”——更像建筑雕塑，而非真正在使用的居所。Ramírez Orozco 的摄影保留了拍摄时的现场气氛：光线掠过裸露的隔墙与结构，设计师的作品进入其中，关系就在那一刻成立。

Radically different in siting and character, the four houses share the same condition: newly completed, still uninhabited, and no longer under construction. Many openings remain without window frames, door frames, or doors. They are held in a brief in-between state—closer to architectural sculptures than functioning homes. Ramírez Orozco’s photographs preserve the atmosphere of the sessions: light glides across exposed partitions and structure, the designers’ pieces enter the space, and the relationships take shape on site.

在Tapalpa的哈利斯科山地，一座对乡野小屋的当代诠释，安静贴近土地；山墙屋顶、庭院与厚墙的色调，与在地Tepetate土色融在一起

偶然

SURPRISE

旅程中，“偶然”同样重要。精心布置的场景，常被突如其来的对应关系轻轻点亮：物件的圆形细节在建筑上找到一个被凿出的孔洞呼应；灯具的长影在砖地上划出顽皮的纹样；金色日光浸透混凝土表面，几乎让材质呈现出梦幻的错觉。每到一处，形体与质地的化学反应——彼此相关，又各自独立，都被 Ramírez Orozco 记录下来，尤其是光与影的变化，以及那些无法预见、也无法重复的瞬间。

Along the journey, happenstance matters just as much. Carefully staged scenes are often quietly lit up by sudden correspondences: a circular detail in an object finds an answer in an opening carved into the structure; a lamp’s long shadow draws playful patterns across brick; golden sunlight soaks into concrete, making the material feel almost liquid. At each stop, improvised meetings of form and texture—connected yet distinct—are recorded by Ramírez Orozco, with particular attention to shifting light and shadow, and to moments that cannot be predicted or repeated.

拍摄于

Casa El Tablón

，由Aires Mateus Ignacio Urquiza设计，位于Valle de Bravo

作品被放在这些处于“过渡期”的空间角落里，会获得新的属性：它们开始与墙面、开口、光线与体量建立微妙的联系。拍摄多在清晨或傍晚进行，明暗、质地、反射与空间的深度一并进入画面。

Placed in corners of these transitional spaces, the works take on new qualities, forming subtle links with walls, openings, light, and volume. Most sessions happen at dawn or dusk, when light and shade, texture, reflection, and spatial depth all come into play.

在Valle de Bravo的微气候中，天气可在片刻间从温暖转向雨意、再到寒凉；一处私密的混凝土“翼”被切割出弧线，去模拟附近树冠的形状，而色彩明亮的鸟群在头顶盘旋

摄不求完整描绘房子，更像记录作品如何在不同空间里找到位置，也捕捉那些偶然出现的呼应。最终留下的，是一组关于“作品如何进入建筑、又如何穿行其中”的影像。

The images do not aim to portray the houses in full; they trace how a piece finds its place from one space to the next, while catching the correspondences that appear by chance. What remains is a series that follows how the works enter architecture—and move through it.

拍摄于

Casa Mér

ida

，由

Tánat   Pemo Carlos GN设计，

位于尤卡坦Mérida。

Casa Mér

ida

像一座伪装成居所的雕塑：分段而纯净的体量与高耸的厅堂，让人想到的并非住宅，而更像一座被剥离到极致的粗野主义大教堂

印迹

TRACE

这段行旅最终回到一个可以走进的展览现场。Remanencias 的想法、拍摄过程与一路形成的对话，被整理为一次具体的观看经验。文字与影像装裱在定制的铝制画框中，围绕空间中央的作品展开。观者可以绕行这些“走过路”的物件观看，再回到照片里重新辨认它们在不同建筑中的停留与变化，从而在心里重走这段发生在墨西哥的共同旅程。

The journey ultimately returns as an exhibition you can walk into. The ideas behind Remanencias—its making, its photographic process, and the dialogues formed along the way—are shaped into a tangible viewing experience. Text and images are framed in custom aluminum structures, unfolding around the works placed at the center of the space. Visitors can move around these well-travelled objects, then return to the photographs to recognize how each piece paused and shifted across different buildings—replaying in their own minds a shared journey through Mexico.