在国内外，无论是在媒体或是主流文化的影响下，许多人始终将西藏与“神秘”这类词汇连接起来。尤其是在《消失的地平线》出版后的西方，许多人将西藏幻想成理想化的精神乐园，并且认为当地的居民天真并且不牵恋于世俗的物质生活；而许多媒体也将西藏刻意构画成这样的景象。虽然这样的宣传无伤大雅，有时却会误使一些人将西藏认为是尚未开化的土地。
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.
在西藏当代艺术发展过程中，伦敦这座城市也占据重要的位置。“甜茶馆”以及Rossi & Rossi美术馆将西藏的美术家（以男性为主）介绍到了更广阔的领域。正是由于如此，这次的展览才更加激动人心。90后的摄影师、80后的策展人及80后的承办人，都是年轻的藏族新生代，而她们又恰巧都是女性。三位都来自拉萨，在内地接受高等教育后，继续在伦敦深造。三位在伦敦的相识使得这次的展览得以开展。
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.
尼珍时常通过她的作品检视身份认同以及全球化这两个普遍课题；时尚摄影也是她经常探索的领域之一。她的镜头敏锐而不做作地捕捉着西藏“神秘化”以及“全球化”的交界之处。她并不避讳在她的作品中展现自己对传统及现代社会矛盾的困惑；更不刻意营造寓意深刻的氛围；她的作品通常捕捉她所接触到的社会最直接、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.
这次的作品主要由两组不同系列的作品构成，匆匆一觑，很有可能认为这次展览的主题Either ｜Or（或者｜或者）是一种对事实的陈述；即西藏社会之存在传统及现代化这样两极分化的面貌，然而仔细检视这些照片便会发现这两个所谓的不同世界存在许多交集。
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.
两组照片中的其中一组来自拉萨的都市青年，包括网络红人，演员，模特以及说唱组合。这一组的取景及造型都由摄影师精心设计，而这些潮流时尚的形象打破了人们对于藏族的刻板印象。而另一组照片是在青海省的卓玛林佛学院拍摄。这些照片都未经任何雕饰，都捕捉着学院里的僧人尼众最自然的状态。其中一些照片也同时打破了人们对于出家人所持有的既定印象。
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.
对于许多人，即使是藏族本身，认为出家人以及社会人是完全不同的群体。许多人把出家人想象成神秘的追求精神世界的群体；而认为社会人由于长期接触主流文化，只在乎外在物质生活。然而实际上正如摄影师尼珍，许多西藏新生代的青年男女对物质及精神的世界都充满好奇，并且尽量在寻找这两个世界的平衡处。
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.
无论是贡嘎嘉措新奇的贴纸作品，或是诺次震撼的装置艺术，抑或是次仁夏巴诙谐的神灵绘画，他们的作品都体现着艺术家的洞察力，这些作品不但引人深思，同时直言不讳地反思着西藏当下的社会状况。这样的突破使得之后的许多年轻一代的艺术家对他们的艺术风格或事手法进行生硬的效仿。而摄影师尼珍的作品却展现出独到之处，这不仅是由于90后的她作为西藏现代化的见证者及亲历者，有着新鲜的视角；也因为她的作品与西藏当代艺术的先驱艺术作品存在相异之处。
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.
这张展览意欲使观者思考Either ｜ Or 这样只具备两面的陈述是否能够总结西藏社会面貌的全部。
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