现场 | 在我的房间里 In My Room
在我的房间里 In My Room
参展艺术家：范加 Jes Fan，Lewis Hammond，Juan Antonio Olivares，陶辉 Tao Hui，王韬程 Evelyn Taocheng Wang， Bruno Zhu
策展 Organized by：李佳桓 Alvin Li
展览时间 Duration: 2019.05.24 - 2019.07.07
作品介绍 Work Description
《衣柜男孩》
Bruno Zhu
两件服装袋分别挂在展览开头的两个展厅中，从中分别伸出一双长趾袜和手套。这一身装扮近乎恋物癖，而又不必然与性有关；有点巫系，甚至神经质，这些衣服像是等待一位临近星球的用户穿上它们。透过作品中不在场的身体，《衣柜男孩》铭刻着我们对亲密关系和关怀的需求。
Man in a Closet
Bruno Zhu
In the first two exhibition rooms hang two garment bags, from which protrude a pair of long-toed socks and gloves. The outfit verges on fetish, but is not necessarily sexual; more witchy, neurotic—clothes anticipating an user hailing from a place similar to ours, looking just a little off. Man in a Closet registers through the absence of a body the need for intimacy and care.
展览现场 Exhibition View
《南方戏剧史》A幕
陶辉
《南方戏剧史》取自台湾作家冷水花的小说标题，而这位传奇般的女作家则是陶辉脑海中的人物。在纪录片风格的视频采访中，冷水花半拒绝的语调，慢慢陈述她在全盘否认《南方戏剧史》背后的因果转折，即便这本书也是她最为人知的杰作。在这个房间里，这位独特的作家仅仅以碎片的形式而存在——她年轻时的三张黑白照片，一台正在书写的机械臂以及屏幕中的纪录片。
“The History of Southern Drama” Part A
Tao Hui
History of Southern Drama is the title of a mysterious “novel” by Leng Shui Hua, a fictional Taiwanese writer created by Tao Hui. In a video interview shot documentary-style, Leng hesitantly reveals and goes on to disown the very literary work for which she is best known. In this room, the presence of the ambivalent author is invoked only in fragmentary form—three black and white photographs of her younger self, an automatic writing machine, and the on-screen documentation.
展览现场 Exhibition View
胡安·安东尼奥·奥利瓦雷斯
奥利瓦雷斯为展览带来一系列新的玻璃雕塑。在烧制过程中，他探索的是挥之不去的记忆、各种僵局，人的情绪袭扰这样的感情因素的可能形式。在A和B中，烧毁的童年照片和个人物品的断简残篇放在艺术家描述为“记忆水坑”的空间。B作品并将《罗杰斯先生的左邻右舍》（1962-2001）中的一首歌曲以一种空心玻璃的样貌转译出来，内有铁磁流体，制造出可见的振动。这首歌引发隽永的音景，邀请我们靠近并专注地倾听，从而进入彼此的亲密关系。
Memory Puddle (razors), Motus Machina, Memory Puddle (teenager)
Juan Antonio Olivares
Juan Antonio Olivares presents a new series of glass sculptures that explore lingering memories, impasse, and the human capacity to affect and be affected. In A and B, residues of burnt childhood photographs and personal items are housed in what the artist describes as “memory puddles.” In B, a song from Mister Rogers' Neighborhood (1962-2001) is transmitted into a hollow glass form via a transducer, creating visible vibrations through the ferrofluid within. The song conjures an evocative soundscape that invites us to lean closer and listen intently, thereby entering into an intimate relation with each other.
Juan Antonio Olivares 胡安·安东尼奥·奥利瓦雷斯
Motus Machine，2019
Glass, mineral oil, ferro fluid,surface transducer, aux cable, mp3 player, audio file
玻璃、矿物油、铁磁流体、表面传感器、aux接线、MP3播放器、音频文件
dimensions variable 尺寸可变
《Double Talk》
陶辉
一位韩国巨星，在他流传甚广的自杀事件之后，有一天又重新现身于镜头之前。他的金酸梅演技，像是几分甜的店员不小心帮你加了太多糖。不过，这已经足以让一房间的青涩学生陷入迷狂，而他们的老师在一旁则完全被忽略，一个人批判着银幕中明星的表演。
韩国娱乐业以剥削身体和情感劳动而臭名昭着，也因此累积了一些名人自杀的案例。以此为背景，作品徘徊在搞笑和恐怖之间，并反映了粉丝力这种特殊的依恋模式，如何透过媒体网络及其影响力，作用在我们的日常感受和身体韵律之中。
Double Talk
Tao Hui
A Korean superstar returns to life in frontof the camera after his much-publicized suicide. His performance is saccharine,worthy of a Golden Raspberry, but it suffices to enrapture a roomful ofadolescent students, who proceed to completely ignore their teacher, who is atthe front of the classroom ranting about the star’s on-screen performance.
Double Talk,at once hilarious and chilling, is set against the backdrop of Korea’sentertainment industry, notorious for its exploitation of labor both physicaland affective, which has led to a number of high-profile celebrity suicides.The work reflects on the pervasive of fandom—a mode of attachment, embeddingone’s reason to live onto the flourishing of another—through media networks andtheir impact on our feelings and daily choreography.
展览现场 Exhibition View
《图表4》
范加
范加的《图表4》是他近期系列作的最新发展。艺术家的关注坐落在皮肤表皮层的医学临床图表上。表皮层负责黑色素的数量和分布，也是决定人体皮肤颜色之处。各种玻璃球立于其上，作品像是结合了身体建筑学和生物学的活体架子一般。而在作品的表面上，又有一层层的彩色水性树脂。艺术家打磨这些皮层的方式，使无数肉色调的层次相互融合在一起，让我们想到：在肤色与种族叙述的背后，确实不无人为的因素。
Diagram VI
Jes Fan
Diagram VI is a new iteration of Fan’s ongoing series, which references clinical diagrams of the epidermis—the outermost layer of skin, responsible for the majority of variations in human skin color due to the quantity and distribution of melanin pigment it contains. With glass globules sitting on its surfaces, the work has the appearance of a living shelf, combining domestic architecture and biology. With layer after layer of colored aqua-resin upon the surface of the work, laboriously sanded down to expose the melting of myriad flesh-toned shades into one another, the work alludes to the artificiality of race.
Jes Fan 范加
Diagram VI 图表4，2018
Epoxy, Composite Resin, Pigments, Glass
环氧树脂、复合树脂、颜料、玻璃
Dimensions variable 尺寸可变
《Oud-Charlois八景，第三景、第五景、第七景》
王韬程
在王韬程最新系列“Oud-Charlois八景”中的这三张作品描绘了鹿特丹南部的贫困地区。这是荷兰全国犯罪率最高之处，近年反成了艺术家和外来移民进驻而闻名的地方。作品标题是《潇湘八景》的回响，王在这种对话中，将她触眼所及的环境比做最富盛名的中国古代绘画中的宏伟景观，也将她自身与久远的诗歌和艺术传统联系在一起。其中多了一抹自贬，但这不啻是种恩典，两相反馈到她自己的日常生活以及对美的追寻。
Eight View of Oud-Charlois No.3, No.5,No.7
EvelynTaocheng Wang
Part of Wang’s most recent series, “EightView of Oud-Charlois” (2019), each of the three drawings depicts a location inWang’s neighborhood in southern Rotterdam, a poverty-stricken district with thecountry’s highest rate of criminal behavior, which has in recent years becomesomewhat iconically populated by artists and immigrants. By titling the workafter Eight Views of Xiaoxiang, Wang contrasts her most immediatesurroundings with the grandiose landscape of what is arguably the most famousancient Chinese painting, while at the same time aligning herself with a longpoetic and artistic legacy—adding a touch of self-deprecation, but also grace,to her search for beauty in the quotidian.
Evelyn Taocheng Wang 王韬程
Eight View of Oud-Charlois, No.7《Oud-Charlois八景，第七景》，2019
Ink, acrylic, on rice paper
宣纸上 油墨，丙烯
46 × 104 cm
《流星》
BrunoZhu
《流星》是一系列16张鸡丝网制成的雕塑，每张网上都印有同一张艺术家妹妹8岁时的照片。在每次的制作中，艺术家都邀请一群人来帮忙，首先要他们跳舞，并拥抱这张相片，使得这些网状雕塑压印出不同的形状，最终，再根据场所的特质来安排这些雕塑片。也正因此，每件作品都留有人们的手迹，这也是持续累积并铭记在作品上的情感碎片。
Falling Stars
Bruno Zhu
Falling Starsis a series of 16 sheets of chicken-wire sculptures, each featuring the same photograph of the artist’s sister, taken when she was eight. For each iteration, the artist first instructs a group of helpers to join in a dance while hugging the image, thereby molding them all into different shapes, then installs the sculpted sheets into site-specific compositions. Each piece then contains, quite literally, traces of different people’s touch, continually acquiring more shreds of affection along the way.
展览现场 Exhibition View
《变化三种》
王韬程
《变化三种》来自于王韬程阅读了青蛙王子这则童话故事玲琅满目的各种版本，包括不同文化背景，不同阐述角度。它们在处理身份变化的问题时，都有一定的相关性。虽然在各种传统的版本中，其性别角色不尽然是明确的，但都是以身份流变为角色建构的基础。从动物到人类的转变时刻，则总是带有满满的性意涵，包括了亲吻、或是野蛮斩首这样的演绎。王韬程读青蛙王子，打开的是一场故事中各种变形记的变形记。
Three Versions of Change
EvelynTaocheng Wang
Three Versions of Change is a result of Wang’s reflections on the various sources andreinterpretations, within different cultural contexts, of the infamous fairytale The Frog Prince. The different versions all share a certain kinshipin their dealing with issues of changes in identity. Although its gender rolesare not always assigned clearly, all the traditional versions are marked by thepresence of a process-based character. The moment of transformation from animalto human is always sexually charged—whether manifested with a kiss or a brutalact of beheading. Wang’s use of The Frog Prince as subject offers spacefor reflecting on the various metamorphoses inherent in the story.
《医院对话》
王韬程
在这幅视频肖像画中，王韬程透过一则碎片化的故事，围绕在医院和一名匿名患者的印象上。建筑和身体相互溶解，并变成彼此。其内部空间的混凝土结构与身体的轮廓交错。在这种设定中，身体则又不断经受疼痛和愈合的过程。这则录像用衣服为喻，指向身份和建筑两大主题。
Hospital Conversation
EvelynTaocheng Wang
In the video portrait HospitalConversation Wang dissolves architecture and bodies into one another, in afragmented story about a hospital and the impressions of one of its patients(who remains anonymous throughout). The concrete architecture of this innerspace is thereby juxtaposed with the contours of the body. In this setting, thebody is under constant change through a process of pain and healing. Using themetaphor of a dress, the video tackles subjects involving identity andarchitecture.
展览现场 Exhibition View
*文字 Text by：李佳桓 Alvin Li
艺术家简介 About the Artists
范加 Jes Fan
范加（b.1990）生于加拿大，在中国香港长大。范加曾获得过多项国际奖学金，包括Joan Mitchell绘画雕塑补助金、Jerome Hill奖学金、纽约艺术设计博物馆Van Lier奖学金、RISD John A. Chironna纪念奖，等等。范加曾参与全球范围的各大展览，包括香港Empty Gallery的“Mother is a Woman”和匹兹堡卡耐基梅隆大学的“Paradox: Haptic Body in the Age of AI”等。即将参与的展览有伦敦Hayward画廊的“Kiss my Genders”、上海外滩美术馆的“百物曲”（外滩美术馆，上海）和2020年悉尼双年展。范加工作生活于布鲁克林。
Jes Fan (b.1990) was born in Canada, raised in Hong Kong, China.Fan is the recipient of various fellowships, such as the Joan Mitchell Painters and Sculptors Grant, Jerome Hill Fellowship, Van Lier Fellowship at Museum of Arts and Design, John A. Chironna Memorial Award at RISD. Selected exhibitions include “Mother is a Woman” (Empty Gallery, Hong Kong, 2018); and “Paradox: Haptic Body in the Age of AI” (Carnegie Mellon University, Pittsburgh, 2018); among others. Upcoming exhibitions include “Kiss my Genders” (Hayward Gallery, London, 2019), “An Opera for Animals” (Rockbund Art Museum, Shanghai, 2019) and the Sydney Biennale in 2020. Fan is based in Brooklyn.
Juan Antonio Olivares
Juan Antonio Olivares（b. 1988）出生于波多黎各，父母为哥伦比亚/智利人。Olivares目前在纽约生活和工作。Olivares于2018在惠特尼美国艺术博物馆举办了他的第一次机构个展“Moléculas”。其他近期展览包括：“Vespula Vulgaris”（ChertLüdde画廊，柏林，2019年）; “我. 夏天（伟大的比赛之后）“（Miguel Abreu画廊，纽约，2017）; “Moléculas”（Off Vendome画廊，纽约，2017）等。
Juan Antonio Olivares (b. 1988) was born in Puerto Rico to Colombian/Chilean parents, and is currently based in New York. He recently had his first institutional solo show at the Whitney Museum of American Art, "Moléculas," opening in March 2018. Other recent exhibitions include: “Vespula Vulgaris” (ChertLüdde, Berlin, 2019); “I. Summer (after the Great Game)” (Miguel Abreu Gallery, NYC, 2017) ; “Moléculas” (Off Vendome, NYC, 2017) ; and “Please Respond” (M/L Artspace, Venice, 2015).
Lewis Hammond
Lewis Hammond （b.1987，英格兰伍尔弗汉普顿）目前在英国伦敦生活和工作。精选个展或双个展览包括“The Keep”（Arcadia Missa画廊，伦敦，2019），“Isle”（Smart Objects画廊，洛杉矶，2018年）和“Room to Crawl”（Becky's 画廊，伦敦，2018）等。Hammond也参加了如纽约Deli，巴黎Balice Hertling和维也纳Sophie Tappeiner等画廊的群展。
Lewis Hammond (b.1987, Wolverhampton, England) currently lives and works in London, UK.
Select solo or duo exhibitions include “The Keep” (Arcadia Missa, London, 2019), “Isle” (Smart Objects Gallery, Los Angeles, 2018) and “Room to Crawl” (Becky’s, London, 2018), among others. Hammond has also participated in group exhibitions at Deli Gallery in New York, Balice Hertling in Paris, and Sophie Tappeiner Gallery in Vienna, among others.
陶辉 Tao Hui
1987年生于中国重庆云阳，现工作及生活于中国北京。陶辉于2015年分获SESC巴西录像艺术节“南部全景”单元大奖，三亚艺术季“华宇青年奖”评委会大奖，于2017年入围最具权威的亚洲当代艺术奖项“HUGO BOSS亚洲新锐艺术家大奖”，并于2019入围首届希克奖。近期个展包括：“节奏与知觉”（马凌画廊，香港，201）9；"TAO HUI"（The Breeder画廊，雅典，2018）；和“南方戏剧史，A幕”（其玟画廊，台北，2018）；“新倾向：陶辉”（尤伦斯当代艺术中心，北京，2015”；和“一个人物与七段素材”（艾可画廊，上海，2015）。
Tao Hui (b.1987, Sichuan) is a graduate from Sichuan Fine Art Institute, and currently lives and works in Beijing, China. Tao won the Grand Prize at Contemporary Art Festival Sesc Videobrasil and the Art Sanya & Huayu Youth Grand Award, both in 2015. He was shortlisted for HUGO BOSS ASIA ART Award for Emerging Asian Artists in 2017, and the inaugural Sigg Prize in 2019. His solo exhibitions include “Rhythm and Senses” (Edouard Malingue Gallery, Hong Kong,2019); “The History of Southern Drama, Scene A” (Chi-wen Gallery, Taipei, 2018); and “Not at all” (OCAT Xi’an, Xi’an, 2017); “New Directions: Tao Hui” (UCCA, Beijing, 2015), among others.
王韬程 Evelyn Taocheng Wang
王韬程（b.1981）目前工作生活于荷兰鹿特丹。她的古典绘画、录像和表演大多源于她尤其感兴趣的身份的构造，以及不同文化中身体与自传性结构间的相对关系。王韬程曾在法兰克福的St?delschule学习，并在De Ateliers担任驻地艺术家（2012-2014）。她曾获得鹿特丹Dolf Henkes奖（2019）、Dorothea von Stetten奖和Volkskrant Beeldende Kunst奖。她曾在KW - 柏林当代艺术学院、Frans Hals 美术馆 | Hallen Haarlem、卡洛斯 | 石川画廊和Fons Welters画廊举办个展；也参加了苏黎世的Manifesta 11;米德尔堡的Vleeshal;施泰德姆施泰德利克博物馆;洛杉矶的Jenny’s举办的群展。王韬程即将于2019年10月在兰斯的Frac Champagne-Ardenne举办个展。
Evelyn Taocheng Wang (b.1981) is an artist who currently lives and works in Rotterdam, the Netherlands. Wang’s work, which traverses painting, drawing, video and performance, emerges from an interest in what constitutes identity and how one’s own body is culturally relative to—and intertwined with—autobiographical structures.
Wang studied at the St?delschule, Frankfurt and was resident artist at De Ateliers (2012-2014). She has won the Dolf Henkes Prize, Rotterdam (2019) as well as the Dorothea von Stetten Award and the Volkskrant Beeldende Kunst Prize. She has had solo shows at KW – institute for contemporary art, Berlin; Frans Hals Museum | Hallen Haarlem, Carlos|Ishikawa and Galerie Fons Welters and participated in the group shows Manifesta 11, Zurich; Vleeshal, Middelburg; Stedelijk Museum Schiedam; Jenny’s Los Angeles. Forthcoming is a solo exhibition at Frac Champagne-Ardenne, Reims in October 2019.
Bruno Zhu
Bruno Zhu（b.1992）是一位艺术家及作家，目前在荷兰阿姆斯特丹生活和工作。
精选个展包括“Guts”（Kimberly-Klark画廊，纽约，2019）; “Continente”（Kunsthalle Lissabon画廊，里斯本，2018）; “Vista Alegre”（Serralves美术馆，波尔图，2015）;和“Grass Warm Trifecta”（卡洛斯 / 石川，伦敦，2012）等。精选群展览包括“Life Hacks”（BQ画廊，柏林，2019）; “17区”（Kraupa-Tuscany Zeidler画廊，柏林，2018）和“让我们看看，我们在哪里？在绝望的深渊“（De Ateliers画廊，阿姆斯特丹，2017年）等。
Bruno Zhu (b.1992) is an artist and writer who currently lives and works in Amsterdam, the Netherlands.Select solo exhibitions include “Guts” (Kimberly-Klark, New York, 2019); “Continente” (Kunsthalle Lissabon, Lisbon, 2018); “Vista Alegre” (Serralves Museum, Porto, 2015); and “Grass Warm Trifecta” (Carlos/Ishikawa, London, 2012), among others. Select group exhibitions include “Life Hacks” (BQ, Berlin, 2019); “District 17” (Kraupa-Tuscany Zeidler, Berlin, 2018); and “Let's See, Where Were We? In The Pit of Despair” (De Ateliers, Amsterdam, 2017), among others.
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联系我们 | Contact us
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上海市莫干山路50号17号楼202室
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