在國內外， 無論是在媒體或是主流文化的影響下， 許多人始終將西藏與“神秘”這類詞彙連接起來。 尤其是在《消失的地平線》出版後的西方， 許多人將西藏幻想成理想化的精神樂園， 並且認為當地的居民天真並且不牽戀於世俗的物質生活；而許多媒體也將西藏刻意構畫成這樣的景象。 雖然這樣的宣傳無傷大雅， 有時卻會誤使一些人將西藏認為是尚未開化的土地。
The mystique that shrouds Tibet, both nationally and internationally, has long been forged and promulgated by stereotypes created by the media and popular culture. Especially in the West, since the publication of the book The Lost Horizon, Tibet has been viewed as an ideal spiritual society, and the Tibetan people to be naive and untainted by the materialized world. Some of the imageries we see on screen and in the papers are harmless if not insulting, whilst other portrayals can be dangerous in casting the Tibetan people as in need of external enlightenment.
在西藏當代藝術發展過程中， 倫敦這座城市也佔據重要的位置。 “甜茶館”以及Rossi & Rossi美術館將西藏的美術家（以男性為主）介紹到了更廣闊的領域。 正是由於如此， 這次的展覽才更加激動人心。 90後的攝影師、80後的策展人及80後的承辦人， 都是年輕的藏族新生代， 而她們又恰巧都是女性。 三位都來自拉薩， 在內地接受高等教育後， 繼續在倫敦深造。 三位在倫敦的相識使得這次的展覽得以開展。
London holds a special place for the development of Contemporary Tibetan Art. The founding of the Sweet Tea House and the Rossi Rossi Gallery has brought modern Tibetan artists (predominantly male) into the international arena.It is therefore incredibly exciting to be presenting a show, for the first time ever, that is curated by a millennial Tibetan, with a body of work by a Gen Z artist, both of whom happen to be women.
尼珍時常通過她的作品檢視身份認同以及全球化這兩個普遍課題；時尚攝影也是她經常探索的領域之一。 她的鏡頭敏銳而不做作地捕捉著西藏“神秘化”以及“全球化”的交界之處。 她並不避諱在她的作品中展現自己對傳統及現代社會矛盾的困惑；更不刻意營造寓意深刻的氛圍；她的作品通常捕捉她所接觸到的社會最直接、自然的一面。
What makes Nyema Droma so unique is not only her position a witness as well as a participant of the millennial lifestyle inside Tibet, but also her artistic departure from what can be seen as the pioneers of contemporary art.
In her work, Nyema Droma examines familiar themes of identity and globalization as well as new explorations of self-representation and the cultural influence of fashion. Her works are sharp and bold, without abstraction, she points her lens directly at the intersection between the mythical and the digital. The artist is not afraid to express her confusion about balancing the paradox of new and traditional cultures in modern Tibet. Through her photographs, Nyema Droma does not force profound contemplation, but rather a direct and spontaneous capture of the current Tibetan society.
這次的作品主要由兩組不同系列的作品構成， 匆匆一覷， 很有可能認為這次展覽的主題Either ｜Or（或者｜或者）是一種對事實的陳述；即西藏社會之存在傳統及現代化這樣兩極分化的面貌， 然而仔細檢視這些照片便會發現這兩個所謂的不同世界存在許多交集。
The exhibition is directed into two clear and distinctive groups, upon first viewing, it might suggest that the title “Either | Or” is a statement or a fact. However, upon closer comparison, we find that the two sets of photographs seemingly from two different worlds are not contrasting, but parallel.
兩組照片中的其中一組來自拉薩的都市青年， 包括網路紅人， 演員， 模特以及說唱組合。 這一組的取景及造型都由攝影師精心設計， 而這些潮流時尚的形象打破了人們對於藏族的刻板印象。 而另一組照片是在青海省的卓瑪林佛學院拍攝。 這些照片都未經任何雕飾， 都捕捉著學院裡的僧人尼眾最自然的狀態。
City folks from the capital city of Lhasa, including Internet celebrities, actors, models and rapper are shot in a carefully stylized manner, breaking most preconceived notions of what Tibetans do, how they look, and what they pursue; Whilst Tibetan nuns from the Dolma Ling institute in Qinghai province (officially outside of the autonomous Tibetan region) are captured in a purely spontaneous way, capturing a sense of spontaneity and individuality that seems counterintuitive to the communal traditions of the religious institutions the disciples are trained under.
對於許多人， 即使是藏族本身， 認為出家人以及社會人是完全不同的群體。 許多人把出家人想像成神秘的追求精神世界的群體；而認為社會人由於長期接觸主流文化， 只在乎外在物質生活。 然而實際上正如攝影師尼珍， 許多西藏新生代的青年男女對物質及精神的世界都充滿好奇， 並且儘量在尋找這兩個世界的平衡處。
To many people, even for the Tibetans themselves, there seems to be a clear separation between these two groups: one reclusive, mysterious and highly spiritual; and the other, embedded in mainstream culture fashion, and connected to the external world. The artist straddles both worlds like many of her fellow millennial and Gen Z contemporaries, and she asks the audience to question if with time Either | Or will become a statement or remain a question.
無論是貢嘎嘉措新奇的貼紙作品， 或是諾次震撼的裝置藝術， 抑或是次仁夏巴詼諧的神靈繪畫， 他們的作品都體現著藝術家的洞察力， 這些作品不但引人深思， 同時直言不諱地反思著西藏當下的社會狀況。 這樣的突破使得之後的許多年輕一代的藝術家對他們的藝術風格或事手法進行生硬的效仿。 而攝影師尼珍的作品卻展現出獨到之處， 這不僅是由於90後的她作為西藏現代化的見證者及親歷者， 有著新鮮的視角；也因為她的作品與西藏當代藝術的先驅藝術作品存在相異之處。
From the whimsical sticker arts of Gonkar Gyatso, to the impacting installations of Nortse, and the humorous deity paintings of Tsering Sharpa, their profound reflection on the modern Tibetan culture is brutally honest, insightful and thought provoking. Since their breakthrough, their works have been regarded as a guide for artists thereafter, combined with the limited informational exposure inside Tibet, many have simply reworked the same styles and techniques birthed by the pioneering artists.
這張展覽意欲使觀者思考Either ｜ Or 這樣只具備兩面的陳述是否能夠總結西藏社會面貌的全部。
From the whimsical sticker arts of Gonkar Gyatso, to the impacting installations of Nortse, and the humorous deity paintings of Tsering Sharpa, their profound reflection on the modern Tibetan culture is brutally honest, insightful and thought provoking. Since their breakthrough, their works have been regarded as a guide for artists thereafter, combined with the limited informational exposure inside Tibet, many have simply reworked the same styles and techniques birthed by the pioneering artists.
這張展覽意欲使觀者思考Either ｜ Or 這樣只具備兩面的陳述是否能夠總結西藏社會面貌的全部。