Ho Tzu Nyen's 'R for Resonance' (2019) is exhibited at Theaterfestival Basel. His ‘The Critical Dictionary of Southeast Asia (CDOSEA)' (2017-ongoing) is also shown in Rossstall I as a non-stop projection.
‘R for Resonance’ comprises a virtual reality (VR) experience, a video and sound installation and a wall text edited specifically for this iteration at ar/ge kunst. It is a composite environment that articulates the audience’s encounter both with the work’s multiple layers of meaning and with the complexity of the artist’s practice, which traverses various media and disciplines including film, theatre, music and writing. Here Ho Tzu Nyen explores the phenomenon of resonance as a quality associated with the sound of the gong, a cast bronze instrument used for the spiritual and social music rituals common throughout the region.
‘CDOSEA' focuses on Southeast Asia’s colonial histories and national identities. Described as “a platform facilitating ongoing research, a matrix for generating future projects and an oracular montage machine”, ‘CDOSEA' is part of a database of texts, music, online images, that according to an algorithm selects and weaves different sounds and images to form an “Abécédaire” first developed while in Residency at the Asia Art Archive.
“言语不通”
"They Do Not Understand Each Other"
展期 Duration: 2020.5.25-9.13
地址 Address: 香港大馆当代美术馆
Tai Kwun, JC Contemporary, Hong Kong, China
大馆当代美术馆新展览“言语不通”由日本大阪国立国际美术馆与新加坡美术馆联手呈献，旨在探讨文化交流的意义，探索艺术可在当中扮演的角色。“言语不通”由日本大阪国立国际美术馆策展人植松由佳，以及新加坡美术馆策展、节目及出版总监叶德晶博士共同策划。展览作品正来自两国美术馆的23件收藏，加上两件特别委约的新作，聚焦于对文化的协商和期望。
正在展出的是何子彦单频录像作品《此地》(2009-2017)。《此地》以三个连续不断的长镜头拍摄，灵感来自Darcy Grimaldo Grigsby的《极端状态:绘画法国革命后的帝国》(2002年)。影片画面昏暗，镜头慢移于肢体横陈的人群身上，视觉上引用了许多重要艺术作品中经典的恐怖场面，例如Eugène Delacroix的《希阿岛的屠杀》(1824年)、Théodore Géricault的《美杜莎之筏》(1818-19年)、Girodet的《恩底弥翁的沉睡》(1791年)、Caravaggio的《怀疑的托马斯》(1602-03年)及《大卫与歌利亚》(1599年)，以及Antoine-Jean Gros的《拿破仑参观雅法的瘟疫区》(1799年)。由Black to Comm配上的当代音乐，令片中世界更像经历了末日灾难。但惟其如此，过去既带来悠久传统和重大影响，也为反省现在和未来的可能性提供了重要依据。
——文字来源于大馆
展览详情→
(录像静帧 Video Still)
≡ 何子彦 Ho Tzu Nyen
此地 EARTH, 2009-2017
有声单频高清录像
Single-channel HD video with sound
42min
新加坡美术馆收藏
Collection of Singapore Art Museum
图片由艺术家和大馆当代美术馆提供
Image courtesy of the artist and Tai Kwun
‘They Do Not Understand Each Other’ at Tai Kwun’s art galleries in JC Contemporary, Hong Kong. Co-presented by the National Museum of Art, Osaka (NMAO) and Singapore Art Museum (SAM), ‘They Do Not Understand Each Other’ considers what it means to engage with one another, and looks at the potential of art in facilitating understanding. Curated by Yuka Uematsu, Curator at the National Museum of Art, Osaka; and Dr. June Yap, Director, Curatorial, Collections and Programmes at Singapore Art Museum, this exhibition presents 2 new commissions and 23 artworks from the collections of NMAO and SAM.
On view is Ho Tzu Nyen’s single channel video work, ‘EARTH’ (2009-2017). Filmed in three long, uninterrupted takes, 'EARTH' is inspired by Darcy Grimaldo Grigsby’s Extremities: Painting Empire in Post- Revolutionary France (2002). Panning across the dimly lit and sprawling tableau of figures, 'EARTH' makes visual reference to grisly but iconic scenes found in seminal artworks such as Delacroix’s Massacre at Chios (1824), Géricault’s The Raft of the Medusa (1818–19), Girodet’s The Sleep of Endymion (1791), Caravaggio’s Doubting Thomas (1602–03) and David and Goliath (1599), and Antoine-Jean Gros’s Bonaparte Visiting the Plague-Stricken at Jaffa (1804). Brought to life and accompanied by a contemporary soundtrack by Black to Comm, the world in 'EARTH' may appear dramatically post-apocalyptic, but it is also where the past serves as a source of lineage and influence as much as it offers a contemplation of the possibilities of the present and future.
- Text from Tai Kwun
About the exhibition→
“宫津大辅25年录像收藏展：
东亚与东南亚的境迁信号”
"Daisuke Miyatsu:
25 years of video art
- A point of transit signals from East and South East Asia""
展期 Duration: 2020.5.22-2021.1.3
地址 Address: 金马宾馆当代美术馆
台湾高雄市鼓山区鼓山一路111号
Alien Art Centre, No.111, Gushan 1st Rd., Gushan Dist., Kaohsiung City, Taiwan
图片由金马宾馆当代美术馆提供
Image courtesy of Alien Art Centre
何子彦的作品《Bohemian Rhapsody Project》（2006）正在“宫津大辅25年录像收藏展：东亚与东南亚的境迁信号”展出。
事实上我们对于时间运用的认知，逐渐缺乏耐性，而录像艺术，游移在剧场与艺术范畴之间，改变了人们通俗的阅读方式，引领我们探究更丰富的感官经验，于此，艺术跨领域的结合与蜕变，是现代人的福音。600年前荷兰画家因地理与生活条件而发明了油彩，而今科学的跃进带来了录像媒介，之于生处在现代的我们，如何理解这个领域，转化视觉阅读做为睿智的行动，是我们与时演进的课题。
在一个漫谈的过程中，宫津大辅提及他对于录像的着迷。这个理想能够成真，某个程度上，是源自朋友之间的承诺。在这纷乱的时刻，本能地希望，这种对于艺术的热忱、关注与支持，能够点燃一些希望的火花。一切看似遥远，其实，正成为我们生活的主轴。2020年是一个特殊的年份，这个震荡让我们看见世界更真实的一面，以及种种虚幻。而在这样的时刻，一场跨国团队合作的展览，令我们感受到人与人之间的紧密连结不分国界。在种种行为选择发生在虚拟世界的途中，我们看见录像艺术的巨大潜能所构成的悖论。它来自数位的编写，却向我们说明“场域”无可被取代的意涵。
在宫津先生25年共逾100件录像收藏中，最终我们筛选出8位东亚艺术家的经典作品，作为宫津先生，对于亚洲美术史之时空观的传媒代表。艺术家来自泰国、新加坡、日本、台湾与中国，从宗教经典、国史、声像、梦境与文化限制，回到对于多样性社群最需被重视的议题与环境认知。从东方美学的时空观点，我们看见关于现在与过去的边界所产生的诗性空间，在所有困顿中所潜藏着转机与启示。这些造就我们的丰富性，曾经我们以为匮乏。
高雄，做为海纳百川的自由之城、台湾的国际转运枢纽，本期展览，希望能带给您更多对于亚洲文化视觉语言的开阔与想像。
——文字来源于金马宾馆当代美术馆，由永添艺术执行长邵雅曼撰写
≡ 何子彦 Tzu Nyen
“宫津大辅25年录像收藏展”展览现场
Installation view at "Daisuke Miyatsu: 25 years of video art"
图片由艺术家提供
Image courtesy of the artist
Ho Tzu Nyen presents 'Bohemian Rhapsody Project' (2006) in "Daisuke Miyatsu: 25 years of video art - A point of transit signals from East and South East Asia".
In reality, we are gradually lacking patience regarding our understanding on using time. As for video art, given that it wobbles between theatre and art, it has changed the people’s common way of reading, guiding us into a more abundant sensual experience. Therefore, the trans-field combination and transformation of art is a gospel for modern people. Dutch artists invented oil painting 600 years ago due to geographical and living circumstances, while modern scientific improvements brought about video media. How can we, living and raised in the modern era, understand this field and transform visual reading into wise actions, is a time-evolving issue for all of us.
In a casual conversation, Daisuke Miyatsu talked about his fascination to video art. The fact that this fascination could be turned into exhibition, is more about realising a promise between friends. In chaotic times, instinctively we hope that, the passion of care and support to art, could sparkle something in the darkness. All these seem very far away from our daily, but in fact, have become the core of our reality. 2020 is a year that reveals the actualities of the world, and also the numerous illusions. In this specific moment, a global united effort in realization of this exhibition verifies the tight connections between nationalities would not be distanced by borders. While activities have been transformed into the virtual world, we witness the paradox situation led by the potentiality of video art. By digital coding, it conversely evidences a “place” is irreplaceable.
Out of the more than 100 videos collected by Mr. Miyatsu in the past 25 years, we have selected 8 classical works by East Asian artists as media representatives of Mr. Miyatsu’s perspective on the Asian history of art. These artists come from Thailand, Singapore, Japan, Taiwan and China. They presented issues that required more attentions from versatile social communities and environmental understanding from the perspectives of religious classics, national history, acoustic image, dreams and cultural restrictions. From the eastern aesthetic perspective of space and time, we discover the poetic place in between the border of the now and the past. But it no longer remains as metaphors, it reveals the opportunity from the frustration. These richness within the things that make us, we used to perceive as deficiency.
Kaohsiung, as an accepting city of freedom and the international transportation hub of Taiwan, we expect to give you more openness and imagination on the visual language of Asian cultures through this exhibition.
- Text from Alien Art Centre, written by Yaman Shao.
"The Clouds and the Cloud"
展期 Duration: 2020.9.4-2021.1.10
地址 Address: 德国锡根当代艺术博物馆
Museum für Gegenwartskunst Siegen, Siegen, Germany
何子彦的《无知之云》（2011）正在德国锡根当代艺术博物馆的群展“The Clouds and the Cloud”中展出。
对云的艺术“发现”始于中世纪，并在19世纪研究内容激增。云的艺术重要性与其在自然科学和人文科学中的重要性相当。在全球化、虚拟化和20世纪理论的背景下，云如今逐步发展为一种描述当下形势复杂性的模型。它成为网络信息架构、地缘政治关系和新空间概念的象征。众所周知，云终究不会止于边界。
锡根当代艺术博物馆的展览“The Clouds and the Cloud”从当代角度探讨了云的现象。这样一来，它比常规的云的形象要深远得多。运用各种媒介，研究范围从自然主题的艺术诠释到云及其影响的技术基础设施。展出的作品结合了生态、社会政治、经济和技术多层面，重点探索对当今云的各种感知、重要性和功能。
——文字译自德国锡根当代艺术博物馆
(录像静帧 Video Still)
≡ 何子彦 Ho Tzu Nyen
无知之云 The Cloud of Unknowing, 2011
单频高清录像，立体声
Single channel HD video, stereo sound
28 min
图片由艺术家和马凌画廊提供
Image courtesy of the artist and Edouard Malingue Gallery
The artistic “discovery” of the cloud began in the Middle Ages and intensified in the 19th century, parallel to its importance in the natural sciences and humanities. In the context of globalisation, virtualisation and 20th century theory, the cloud is now developing into a model for describing the complexity of contemporary conditions. It is becoming a symbol of networked information architecture, geopolitical relations, and new concepts of space. It is well-known, after all, that clouds do not stop at borders.
The exhibition “The Clouds and the Cloud” in the MGKSiegen deals with the phenomenon of the cloud from a contemporary perspective. In doing so, it goes much further than the customary cloud images. Using a variety of media, the contributions range from artistic translations of the natural motif to the technical infrastructure of the clouds and their affects. The works presented combine ecological, socio-political, economic and technological aspects. The focus is on exploring the various perceptions, materialities and functions of the cloud today.
On view is Ho Tzu Nyen's 'The Cloud of Unknowing' (2011).
- Text from Museum für Gegenwartskunst Siegen
“2020 维也纳艺术节重组”
"2020 Wiener Festwochen Reframed"
展期 Duration: 2020.6.2-9.30
地址 Address: 奥地利维也纳卡尔广场Kärtnertorpassage
Kärtnertorpassage at Karlsplatz, Vienna, Austra
何子彦的《No Man II》(2017）正在2020年维也纳艺术节重组版上放映，将持续至9月底。
在作品《No Man II》中汇集了50种角色，所有角色都是通过在线资源以数字方式创建的。他们来源不明，杂乱无章地聚集在一起，组成了一个幽灵般的合唱团，这些角色之中有人类也有动物、杂交种和机器人。从无害的人类行为到如同僵尸一般的断断续续的前进，模棱两可的动作使这些角色充满生气。他们可能只是人类历史上具象想象的一小部分。他们可能是“我们”。他们也可能是当人类经历各种变异后的“我们”。这件作品被放置于卡尔广场地铁站的地下通道，这种数字角色的行动轨迹在城市空间中产生了意想不到的反响，与路过的行人的动作产生互动。
——文字译自维也纳艺术节
(录像静帧 Video Still)
≡ 何子彦 Ho Tzu Nyen
No Man II, 2017
双面镜上的CGI投影，5.1声道音响，自动灯
CGI projection on double sided mirror, 5.1 channel sound, lights
360 min
图片由艺术家，马凌画廊和Michael Janssen画廊提供
Image courtesy of the artist, Edouard Malingue Gallery and Galerie Michael Janssen
Ho Tzu Nyen presents 'No Man II' (2017) at Reframed version of 2020 Wiener Festwochen. The online screening will last until the end of September.
’No Man II‘ brings together 50 different figures, all digitally created from online sources. They form an unruly gathering of uncertain origin, a ghostly choir, and range from humans to animals, hybrids and cyborgs. They are animated by movements of an ambiguous nature, from innocuous human behaviour to the stuttering advance of zombies. They might be a small sampling of humanity’s figurative imagination across history. They might be ‘us’. They might be ‘us’ after ‘us’ when humankind is going through various mutations. This moving choreography of digital bodies finds an unexpected echo when placed in the urban space, interacting with the movements of passers-by walking through the underpass of the Karlsplatz U-Bahn station.
- Text from Wiener Festwochen
"No Man II"
展期 Duration: 2020.9.5-10.4
地址 Address: 德国波鸿Schauspielhaus Bochum，Oval Office
Oval Office, Schauspielhaus Bochum, Bochum, Germany
网站 Website:
https://www.schauspielhausbochum.de/en/stuecke/6366/no-man-ii#undefined
何子彦的《No Man II》(2017）正在德国波鸿Schauspielhaus Bochum放映，将持续一个月。
这是一个人类被淘汰的世界。在多媒体作品《No Man II》中，何子彦将50个电脑动画化身呈现在反射屏幕上，呈现出幽灵般的形象。这些数码角色一同加入一段幽灵般的合唱中。合唱引用了英国诗人约翰·多恩（1572 – 1631年）的诗句，如同来自遥远的记忆一般呼吁人类团结。
——文字译自Schauspielhaus Bochum
Ho Tzu Nyen presents 'No Man II' (2017) at Schauspielhaus Bochum. The online screening will last for a month.
A world in which humans are obsolete: in the multimedia work ’No Man II‘ Singapore-based artist Ho Tzu Nyen conjures up 50 computer-animated avatars to make ghost-like appearances on a reflective screen. These digital characters join in a ghostly chorus quoting the words of English poet John Donne (1572 – 1631), appealing to human solidarity as if from a distant memory.
- Text from Schauspielhaus Bochum
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