Lovers III (Soft Mountain Offerings)
2025
Taipei Biennial 2025: sculpture approx. 107 × 75 × 54 cm
Hysteresis 2026: installation approx. 120 × 110 × 180 cm; configuration variable
Monitor dimensions: 35.5 × 23 cm
Video duration: 2 min 11 sec
Two pairs of worn cotton-polyester socks with small magnetic hands, purchased through a Taiwanese online foot-fetish marketplace on Twitter from young parents who are active swingers and produce sexual content for sale; Huggies baby-wipe packets, epoxy resin, plastic, wood, aluminum and other mixed media. For the NCCU presentation, drawer units, carved wooden deity figures and additional baby-wipe packets were incorporated into the installation.
A video monitor displays footage of the sellers performing household chores and wearing and removing their socks.
Originally commissioned by Taipei Biennial 2025.
Exhibition: Hysteresis, NCCU Arts & Culture Center, Taipei, 2026.
Short description
Lovers III (Soft Mountain Offerings) developed through an exchange shaped by the sellers’ recent transition to parenthood. Replies sometimes arrived after long silences, accompanied by explanations of childcare and family commitments. Their sexual lives and commercial exchanges unfolded alongside the everyday responsibilities of raising a baby.
For the commissioned video, Ni Hao asked the couple to perform ordinary household chores before removing their socks. They chose to stack and organise packets of baby wipes before turning toward one another. This choice became the starting point for the sculpture. Ni Hao bought the same product, opened the packets along their seams and replaced the wipes with solid wooden or plastic blocks. Reassembled around a steel armature, the packets accumulate into a soft mountain, interspersed with hardened sock forms whose small magnetic hands clasp one another.
The man’s tattoos and a deity statue visible by the doorway recalled the visual culture of Taiwanese temples and domestic shrines. Together with the couple’s accounts of childcare, these details informed the pairing of fierce guardian figures with the soft, repetitive materials of infant care. Protection takes different forms here: the imposing presence of a deity, the intimacy of clasping hands, and the ordinary labour of tending to another body.
For Hysteresis, the work expands across drawer units and gathers around carved wooden deity figures. Baby-wipe packets fill partly opened drawers and accumulate around the figures like offerings. Household storage becomes the support for an arrangement that brings devotion, sexual intimacy and parenthood into the same space, extending a gesture from the sellers’ daily lives into a sculptural environment.
2025
Taipei Biennial 2025: sculpture approx. 107 × 75 × 54 cm
Hysteresis 2026: installation approx. 120 × 110 × 180 cm; configuration variable
Monitor dimensions: 35.5 × 23 cm
Video duration: 2 min 11 sec
Two pairs of worn cotton-polyester socks with small magnetic hands, purchased through a Taiwanese online foot-fetish marketplace on Twitter from young parents who are active swingers and produce sexual content for sale; Huggies baby-wipe packets, epoxy resin, plastic, wood, aluminum and other mixed media. For the NCCU presentation, drawer units, carved wooden deity figures and additional baby-wipe packets were incorporated into the installation.
A video monitor displays footage of the sellers performing household chores and wearing and removing their socks.
Originally commissioned by Taipei Biennial 2025.
Exhibition: Hysteresis, NCCU Arts & Culture Center, Taipei, 2026.
Short description
Lovers III (Soft Mountain Offerings) developed through an exchange shaped by the sellers’ recent transition to parenthood. Replies sometimes arrived after long silences, accompanied by explanations of childcare and family commitments. Their sexual lives and commercial exchanges unfolded alongside the everyday responsibilities of raising a baby.
For the commissioned video, Ni Hao asked the couple to perform ordinary household chores before removing their socks. They chose to stack and organise packets of baby wipes before turning toward one another. This choice became the starting point for the sculpture. Ni Hao bought the same product, opened the packets along their seams and replaced the wipes with solid wooden or plastic blocks. Reassembled around a steel armature, the packets accumulate into a soft mountain, interspersed with hardened sock forms whose small magnetic hands clasp one another.
The man’s tattoos and a deity statue visible by the doorway recalled the visual culture of Taiwanese temples and domestic shrines. Together with the couple’s accounts of childcare, these details informed the pairing of fierce guardian figures with the soft, repetitive materials of infant care. Protection takes different forms here: the imposing presence of a deity, the intimacy of clasping hands, and the ordinary labour of tending to another body.
For Hysteresis, the work expands across drawer units and gathers around carved wooden deity figures. Baby-wipe packets fill partly opened drawers and accumulate around the figures like offerings. Household storage becomes the support for an arrangement that brings devotion, sexual intimacy and parenthood into the same space, extending a gesture from the sellers’ daily lives into a sculptural environment.
戀人 III（柔山供）
2025
2025 台北雙年展：雕塑尺寸約 107 × 75 × 54 公分
《遲滯》2026：裝置尺寸約 120 × 110 × 180 公分；依展場配置而異
螢幕尺寸：35.5 × 23 公分
影像長度：2 分 11 秒
透過 Twitter 上的臺灣網路戀足市集，向一對參與換伴活動並販售情色影像的年輕父母購得的兩雙穿過的棉與聚酯纖維襪，襪上附有小巧的磁吸手掌；好奇嬰兒濕紙巾包裝、環氧樹脂、塑膠、木材、鋁材及其他複合媒材。政大展出版本另納入抽屜櫃、木雕神像及更多濕紙巾包裝。
一部螢幕播放賣家做家務、穿著襪子、彼此互動並脫下襪子的影像。
原為 2025 台北雙年展委託創作。
展覽：遲滯，政大藝文中心，臺北，臺灣，2026。
作品簡介
《戀人 III（柔山供）》的交流過程，交織著賣家初為人父母的生活。訊息有時隔了許久才得到回覆，伴隨而來的是關於照顧孩子與家庭事務的說明。他們的性生活與商業往來，與撫育嬰兒的日常責任並行。
拍攝委託影像時，倪灝請這對伴侶在脫襪之前先做一些日常家務。他們選擇將嬰兒濕紙巾一包包整理、堆放，再轉向彼此。這個選擇成為雕塑的起點。倪灝購買相同的產品，沿接縫拆開包裝，取出濕紙巾，改以實心木塊或塑膠塊填入，再將重新封合的包裝堆疊於鋼製骨架周圍，構成一座柔軟的山。硬化的襪子形體穿插其間，小巧的磁吸手掌彼此相牽。
男方的刺青與門邊可見的神像，使人聯想到臺灣廟宇及家中神龕的視覺文化。這些細節連同伴侶談及育兒的片段，促成威猛守護神像與柔軟、反覆使用的嬰兒照護用品之間的並置。守護在此有著不同的形貌：神像的威儀、牽手的親暱，以及日復一日照料另一具身體的勞動。
在《遲滯》中，作品延伸至抽屜櫃，環繞木雕神像展開。濕紙巾包裝填入半開的抽屜，並如供品般堆聚於神像周圍。家用收納家具成為承載信仰、性與親密關係、以及育兒生活的結構，將賣家日常中的一個動作，延展為雕塑的環境。
2025
2025 台北雙年展：雕塑尺寸約 107 × 75 × 54 公分
《遲滯》2026：裝置尺寸約 120 × 110 × 180 公分；依展場配置而異
螢幕尺寸：35.5 × 23 公分
影像長度：2 分 11 秒
透過 Twitter 上的臺灣網路戀足市集，向一對參與換伴活動並販售情色影像的年輕父母購得的兩雙穿過的棉與聚酯纖維襪，襪上附有小巧的磁吸手掌；好奇嬰兒濕紙巾包裝、環氧樹脂、塑膠、木材、鋁材及其他複合媒材。政大展出版本另納入抽屜櫃、木雕神像及更多濕紙巾包裝。
一部螢幕播放賣家做家務、穿著襪子、彼此互動並脫下襪子的影像。
原為 2025 台北雙年展委託創作。
展覽：遲滯，政大藝文中心，臺北，臺灣，2026。
作品簡介
《戀人 III（柔山供）》的交流過程，交織著賣家初為人父母的生活。訊息有時隔了許久才得到回覆，伴隨而來的是關於照顧孩子與家庭事務的說明。他們的性生活與商業往來，與撫育嬰兒的日常責任並行。
拍攝委託影像時，倪灝請這對伴侶在脫襪之前先做一些日常家務。他們選擇將嬰兒濕紙巾一包包整理、堆放，再轉向彼此。這個選擇成為雕塑的起點。倪灝購買相同的產品，沿接縫拆開包裝，取出濕紙巾，改以實心木塊或塑膠塊填入，再將重新封合的包裝堆疊於鋼製骨架周圍，構成一座柔軟的山。硬化的襪子形體穿插其間，小巧的磁吸手掌彼此相牽。
男方的刺青與門邊可見的神像，使人聯想到臺灣廟宇及家中神龕的視覺文化。這些細節連同伴侶談及育兒的片段，促成威猛守護神像與柔軟、反覆使用的嬰兒照護用品之間的並置。守護在此有著不同的形貌：神像的威儀、牽手的親暱，以及日復一日照料另一具身體的勞動。
在《遲滯》中，作品延伸至抽屜櫃，環繞木雕神像展開。濕紙巾包裝填入半開的抽屜，並如供品般堆聚於神像周圍。家用收納家具成為承載信仰、性與親密關係、以及育兒生活的結構，將賣家日常中的一個動作，延展為雕塑的環境。
