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Kender Geers |化身:非洲艺术作为哲学 IncarNations:African Art as Philosophy

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化身: 非洲艺术作为哲学 IncarNations:African Art as Philosophy

策展人 CURATORS：肯德尓·戈尔斯 Kendell Geers Sibusiso & 桑迪卡·都可Sindika Doko

地址 VENUE: 博扎尔艺术中心，比利时，布鲁塞尔 BOZAR Centre for Fine Arts, Brussels, Belgium

展期 DURATION： 6月28-10月6号, 28 Jun 2019 - 06 Oct 2019

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我们荣幸宣布南非艺术家肯德尔·戈尔斯(Kendell Geers)与刚果收藏家辛迪卡·多科洛(Sindika Dokolo)共同策划展览《化身》。这一倡议从非洲中心的观点反映了非洲艺术遗产的多样性，包括奴隶、殖民主义和独立运动的路线。

《化身》是来自非洲及其侨民的古典艺术与当代艺术的融合与交流，将非洲艺术视为一种活生生的哲学实践。面具、图像和历史物品作为里程碑，将当代作品锚定在古老的生活创作语境中。辛迪卡·多科洛的收藏中，非洲艺术家的作品与散居海外的艺术家并列呈现，产生对话，当代艺术作品亦将与古典作品一起展出。

肯德尔·吉尔斯(Kendell Geers)的作品《偶像的黄昏》(Twilight of the Idols)。这件作品将古典与当代艺术融合在一起，以其复杂的精神力量和层次性成为展览的关键。这条路线贯穿了万物有灵论、邪恶、女权主义、身份、假面舞会、表演、恋物癖、解放运动、掩盖传统和精神等主题。古典作品被赋予了一个中心位置，作为展览的精神守护者，当代作品围绕着展览进行编排。透视法，一个充满活力的图像，声音和颜色的汇编，唤起了人们对非洲大都市的活力的联想，并巩固了展览作品的活力。

Kendell Geers 肯德尔·戈尔斯
"Twilight of the Idols (Fetish)" 《偶像的黄昏》（恋物癖）
2009

在《化身》一书中，辛迪卡·多科洛和肯德尔·戈尔斯从坚定的以非洲为中心的角度质疑了非洲身份的复杂性。毕竟，非洲是一个由54个国家组成的古老大陆，有成千上万种现存的语言和方言、传统以及同样多的对比和多样性。非洲精神通过奴隶、殖民、贸易和流放路线追随其流亡者，并传播到世界各地。它影响了巴西、古巴、欧洲和美国的传统。因此，自相矛盾的是，由于非洲大陆移民的重要性，非洲艺术无视所有地理上的定义。因此，建立一个声称具有非洲特色的收藏，提出了一个核心问题:“什么是非洲艺术?”

BOZAR将在”化身“的范围内协调一个讲座、表演和辩论方案。

BANK is happy to announce that south African artist Kendell Geers curated a show IncarNations in dialogue with the Congolese collector Sindika Dokolo. An initiative that reflects the diversity of the African artistic heritage, from an Afrocentric point of view and including the itineraries of slaves, colonialism and independence movements.

IncarNations is at once a mix and exchange between classical and contemporary art from Africa and its diasporas, looking at African art as a living philosophical practice. The masks, images and historic objects act as milestones, anchoring contemporary works in the ancient context of live creation. Taken from Sindika Dokolo’s collection, the works of African artists enter into dialogue with those of the diaspora while contemporary works will be displayed alongside classical works.

Kendell Geers’ work Twilight of the Idols, a small magico-religious statuette wrapped in hazard warning tape, welcomes visitors. This piece, which brings together classical and contemporary art, forms the key to the exhibition, with its complex spiritual powers and stratification. The route flows organically through themes such as animism, Negritude, feminism, identity, masquerade, performativity, fetish, liberation movements, masking traditions and spirit. The classical works are given a central place as spiritual keepers of the exhibition around which the contemporary works are orchestrated. The scenography, a vibrant compilation of image, sound and colour, evokes associations with the dynamic bustle of an African metropolis and underpins the vitality of the works on display.

In IncarNations, Sindika Dokolo and Kendell Geers question the complexity of African identity from a resolutely Afrocentric perspective. After all, Africa is an old continent of 54 countries, thousands of living languages and dialects, traditions, and as much contrasts and multiplicities. The African spirit followed its diasporas via the slave, colonial, trade and exile routes and spread world-wide. It influenced Brazilian, Cuban, European and American traditions. And thus paradoxically, African arts defy all geographical definitions because of the importance of diasporas from this continent. Therefore, to build a collection which claims an African identity raises the core question of ‘what is African art?’’

BOZAR will coordinate a programme of lectures, performances and debates in the context of IncarNations.

BOZAR Centre for Fine Arts, Brussels, Belgium

Sindika Dokolo系列是非洲大陆最重要的艺术收藏，其作品始于前殖民时代，通过奴隶之路和流散到当代，追溯了非洲精神的影响。作为赞助人和有远见的收藏家，Dokolo将传统非洲艺术视为当代非洲艺术的精神祖先和文化先例，并将其作为一个独特的收藏。

The Sindika Dokolo Collection is the foremost collection of art from the African continent with work that begins in the precolonial era and traces the influence of the African spirit via the slave routes and diasporas into the contemporary. A patron and visionary collector,Dokolo has put together a unique collection that considers traditional African Art to be the spiritual ancestor and cultural precedent to contemporary African Art.

“化身”由南非艺术家肯德尔·戈尔斯和桑迪卡·都可亲自策划，将焦点从欧洲人的目光和殖民幻想中转移, 并把面具放回到非洲艺术家身上用非洲的眼睛和非洲为中心的精神去看国际传统的艺术。面具被创造出来是为了在仪式、仪式和假面舞会上表演，这是一个古老的象征性转换的主体到精神神的化身。展览中，非洲经典艺术杰作如《指南》、《活着的传统英雄》等引领着人们了解当代非洲艺术。《化身》颂扬了非洲艺术不可否认的美学力量，同时承认了人类学的起源和背景，但它超越了这两种学派并引入了第三种观点，即非洲艺术是一种哲学。

“incarNations” curated by South African artist Kendell Geers and Sindika Dokolo himself redirects the focus from the European gaze and Colonial fantasy and places the mask back on the African Artist to look at the International traditions of art with African eyes and with an Afro-Centric spirit. The mask was created to be performed in ritual, rite and masquerade, an ancient symbolic transformation of the subject into the embodiment of a spiritual deity. Classic African Art masterpieces from the collection lead the way through the exhibition like guides, the heroes of a living tradition that set the stage to understanding contemporary African art. “incarNations” celebrates the undeniable aesthetic power of African art, as well as acknowledging the ethnographic origin and context, but goes beyond both these schools of thought and introduces a third point of view, African Art a Philosophy.

除了远古人们生活传统的区别和冲突非洲，非洲不能被递归到任何东西。为了解释非洲的艺术，尼日利亚的诗人奇努阿·阿切贝引荐了伊博人的谚语 “世界是一场化妆舞会” 如果你想了解它，你不能只呆在一个地方。

Africa cannot be reduced to anything expect an ancient living tradition of difference and contrast. Explaining African Art, the Nigerian poet Chinua Achebe cited the Igbo proverb that “the world is a dancing masquerade.” If you want to understand it, you can’t remain standing in one place.”

你有没有想过为什么地球的地图是朝北的?一个蓝绿色的球体漂浮在黑暗真空的宇宙中，既没有顶部也没有底部，然而地球上的每一张地图都倾向于指向于北方。根据心理地缘学说与政治因素，最简单的答案是, 这只不过是欧洲地图制作者的一种习惯，他们想要把自己的理念提升到和地球上其他地方一样的水平。1550年，在制图员还没有养成这种习惯之前，突尼斯外交官兼作家利奥·Africanus在他的著作《德拉·德斯克里蒂奥·戴尔·非洲和德尔·科斯·诺塔比利·切·伊索诺》中发表了一幅面向南方的非洲大陆地图。这张“颠倒”的地图便是理解展览的关键，它是从一个以非洲为中心的角度策划的。

Have you ever wondered why the map of the globe is oriented with North on top ? A blue/green orb floating in the dark vacuum of space, has neither top nor bottom, and yet every map of the Earth is oriented in favour of the North. The most simple answer to that psycho-geographical political charge is that it’s nothing more than a habit of the European cartographers who wanted to elevate their own perspective in relation to the rest of the planet. In 1550, before cartographers had developed the habit, the Tunisian diplomat and author Leo Africanus published a map of the African continent oriented South in his book “Della descrittione dell'Africa et delle cose notabili che iui sono.” This “upside down” map is key to understanding the exhibition which has been curated from an Afro-Centric point of view.

“通过自画像，扎内莱·穆荷利重新想象了黑人的身份，并挑战了通常忽视有色人种的压迫性审美标准。

"Through self-portraits, Zanele Muholi re-imagines black identity and challenges the oppressive standards of beauty that often ignore people of colour."

”我想用我的脸，让人们永远记住，当他们面对我们的黑色面孔时，它们是多么重要，”穆霍利说。他更愿意被称为“视觉活动家”，而不是艺术家。

“ 为这张黑脸是属于一个有理智的人的，有独立的思想。”(《纽约时报》)

“I wanted to use my face so that people will always remember just how important our black faces are, when confronted by them,” said Muholi, who prefers to be called a “visual activist” rather than an artist.

“For this black face to be recognized as belonging to a sensible, thinking being in their own right.” (New York Times)

古巴艺术家安德烈斯·塞拉诺是在新大陆被绑架并被迫成为奴隶的非洲人的后裔。瑟拉诺对三K党(Ku Klux Klan)大师赛的描绘颠覆了掩盖传统的陈词滥调，因为这位黑人在面具的另一面拍摄了白人至上主义者。

Cuban artist Andres Serrano is a descendant of the Africans who were kidnapped and forced into slavery in the New World. Serrano’s portrait of the Ku Klux Klan grand masters inverts the cliché about masking traditions as the black man photographs white supremacists on the other side of the mask.

参展艺术家

Artists include Jane Alexander, Joel Andrianomearisa, Omar Ba, Sammy Baloji, Lisa Brice, Huma Bhabha, Walker Evans, Damien Hirst, William Kentridge, Aida Muluneh, Wifredo Lam, Ernest Mancoba, Ana Medieta, Nandipha Mntambo, Stan Douglas, Mohau Modisakeng, Zanele Muholi, Wangechi Mutu, Otobong Nkanga, Adrian Piper, Tracey Rose, Andres Serrano, Gavin Jantjes, Yinka Shonibare, Malik Sidebe, Kehinde Wiley, Sue Williamson and Hank Willis Thomas amongst others from the continent and diaspora

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