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While the Rest of Mankind Does Its Best to Blow the World Up

Plaster, lacquer, imitation gold powder, three-channel video

Size variable

2026

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當世人忙於毀掉世界時

石膏、漆、仿金粉、三頻道錄像

尺寸可變

2026

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Two documentaries from the British Pathé archive—dating to 1949 and 1955—reveal a quietly ingenious method of making globes: hollow plaster spheres, ready to hold printed gores. Natalie takes this tradition and lets it break. She shatters the spheres, then repairs them with kintsugi—mending fractures with gold, celebrating flaws rather than hiding them. From the repairs emerge singular, unrepeatable patterns that suggest continents and seas—an atlas rewritten without printed lines.

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Here, destruction and reconstruction are not opposites, but companions. Space becomes something formed through accident, repetition, and the compromises of survival. And as the documentaries conclude, “while the rest of the mankind does its best to blow the world up, they (the globe makers) like building a new one”—so mending and patching wounds always remain an option.​​​​​​

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Related exhibition 相關展覽

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2026       "The Sovereign Grid", To Art House, Hong Kong 《絕地》，嚮渡藝術，香港

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Press coverage 相關報導

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Panda Chow，〈專訪朱樂庭 • 裂痕、網格與空間，「反地圖」美學與時間考古〉，Panda Chow Studio，2026年6月11日。 (Panda Chow, "Interview with Natalie Chu • Fractures, Grids, and Space, Aesthetics of 'Counter-Mapping' and Archaeologies of Time", Panda Chow Studio, 11 June 2025.) (Chinese only)

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