图片由广东时代美术馆提供
Image courtesy of Guangdong Times Museum
正在展出 Current Exhibition
群展 Group Exhibition
“传统的频率”
"Frequencies of Tradition"
何子彦 Ho Tzu Nyen
展期 Date: 2020.12.12-2021.2.7
线上展览 Online Exhibition:
2020.12.15-2021.1.31
kadist.org/kvl
地址 Address: 广东时代美术馆
广州市白云大道黄边北路时代玫瑰园三期
Guangdong Times Museum
Times Rose Garden III, Huangbian North Road, Baiyun Avenue, Guangzhou, China
(Scroll down for English version)
≡ 何子彦 Ho Tzu Nyen
绝境旅馆 Hotel Aporia, 2019
展览现场 Installation View
图片由广东时代美术馆提供
Image courtesy of Guangdong Times Museum
群展“传统的频率”呈现了19位国际艺术家、团体、电影人和学者的作品以及新委任作品，主要涉及亚洲的传统与现代性之间的纠葛。展览是金炫辰自2012年起的长期研究的成果，此次展览由广东时代美术馆（广州）和卡蒂斯特（巴黎和旧金山）共同举办。
展览探讨了传统如何被裹挟进帝国主义、殖民主义和民族国家建设的跌宕起伏之中，以及它如何持续影响着我们当今的生活。直到今天，传统仍是亚洲人民生活的日常，将共同的价值世代相传，为未来文化的萌生存留档案。另一方面，传统也因被认为是父权制、威权主义和陈规陋习的根源而遭受冷遇。通过理解传统在批判反思亚洲现代化方面的争议性所在，展览提供了一个感受性的过渡（阈限）空间，以扩展我们对区域现代性的认知。
≡ 何子彦 Ho Tzu Nyen
绝境旅馆 Hotel Aporia, 2019
展览现场 Installation View
图片由广东时代美术馆提供
Image courtesy of Guangdong Times Museum
“传统的频率”中的作品通过视频、影像和表演等时基媒介，以其迷人的美学特性，将多重节点和轨迹编织在一起。当古代泛灵论的传统精神性，揭示了原始物体和未来主义记忆的对等，现实的废墟却徘徊在魔幻和鬼魅之间，唤起了在现代和非现代之间摇摆不定的情感和心理上的复杂感受。一些受到悠久传统技艺如编织和水墨启发的作品，呈现出引人入胜的媒介特征。最后我们看到传统的兴衰并不依赖于官方机构，更多不受规训的女性形象出现，长者的口述传承让饱受摧残的社区展现了令人振奋的瞬间，机器维系着几代人愉悦的朝圣之旅，传统与性别酷儿社群相互纠缠。展览通过集体记忆、灵性、档案想象、技术参与和赋权，揭示了一种难以治理的、多元的状态和模式，以超越根植于亚洲传统及西方经典化的父权压迫。
正在展出的是何子彦的《绝境旅馆》（2019）。
——文字由广东时代美术馆提供
* 展览期间，何子彦的作品也会在卡蒂斯特线上平台（kadist.org/kvl）中展出（点击阅读原文或访问链接：https://kadist.org/watch/frequencies-of-tradition/）
(左右滑动查看更多 Slide for more)
≡ 何子彦 Ho Tzu Nyen
录像静帧 Video stills
绝境旅馆 Hotel Aporia, 2019
丰田市喜乐亭现场装置，
六频道录像投影，24声道，自动风扇，灯，传感器，显示控制系统
Site specific installation at the Kiraku-Tei, Toyota City,
6 channel video projection, 24 channel sound, automated fans,
lights, transducers and show control system
图片由艺术家和马凌画廊提供
Image courtesy of the artist and Edouard Malingue Gallery
喜乐亭是一家曾在大正至昭和时期颇受欢迎的日式旅馆和餐厅。以前，这里挤满了养蚕业的工人，战争期间则挤满了海军军官，战后挤满了汽车业的人。战争末期，神风特攻队的小分队成员到冲绳执行对抗美国海军舰队的自杀任务前，在喜乐亭吃了最后一顿晚餐。在《绝境旅馆》（2019）中出现的的角色包括了神风特攻队的成员、一群战时京都学派哲学家以及作为宣传队成员被派往南海的文化工作者（例如电影导演小津安二郎和动画导演横山隆一）。这些人物不同的生活经历和命运，帮助我们理解在军事民族主义、反现代主义、解放的承诺紧密交织的动乱年代下的种种势力，复杂且通常相互矛盾的意识形态及其历史背景。在《绝境旅馆》这个舞台上，隐藏的历史被唤醒。在这件作品中，摇摆于被埋藏的记忆和被遗忘的记录之间的各种矛盾的语境被拼凑在一起，包括来自悲惨逝世生命的层层意识亦在此展开，并触发起出乎意料的共鸣。在这里，历史事实以其完整的悲剧力量浮现在观者眼前，然而一切仍像是被编织在令人目眩的虚构之中，仿似一次诡秘幽灵的聚会。
Kirakutei, is a Japanese-style inn and restaurant that was popular from the Taisho up to the Showa period. It used to be crowded with workers in the sericultural industry before, with naval officers during, and with people from the auto industry after the war. Towards the end of the war, members of the "Kamikaze" Kusanagi Unit had a final dinner there before their suicide mission against the US Navy fleet at Okinawa. The characters appearing in "Hotel Aporia" include members of that special attack unit, a group of Kyoto School philosophers during wartime, and cultural workers (such as film director Ozu Yasujiro and animator Yokoyama Ryuichi) who were dispatched to the South Seas as members of a propaganda corps. The diverse lives and fates of these characters help us understand the multitude of forces, and the complex and often contradictory ideological and historical backdrops of those tumultuous years in which militant nationalism was inextricably intertwined with anti-modernism and promises of liberation. "Hotel Aporia" is the stage on which concealed histories are awakened. In this work, various conflicting contexts wavering between buried memories and forgotten records are pieced together, and layers of consciousness - including those who tragically lost their lives - unfold and find unexpected resonance. Here, historical facts appear in front of the visitor in the full force of their tragedy, yet everything woven in dazzling fiction, like a gathering of mysterious ghosts.
Frequencies of Tradition is a major group exhibition presenting artworks and new commissions by 19 international artists and collectives, filmmakers, and scholars that address the entanglements between tradition and modernity in Asia. Resulted from Hyunjin Kim’s long-term visual studies and research since 2012, The exhibition is co-organized by the Guangdong Times Museum (Guangzhou) and KADIST (Paris & San Francisco). Frequencies of Tradition is the culmination of a three-year series of programs entitled Frequency of Tradition, comprising seminars, exhibitions, and seminars taking place across Asia, curated by Hyunjin Kim, Lead Regional Curator for Asia and initiated by KADIST.
≡ 何子彦 Ho Tzu Nyen
绝境旅馆 Hotel Aporia, 2019
展览现场 Installation View
图片由广东时代美术馆提供
Image courtesy of Guangdong Times Museum
The exhibition explores the turbulence of imperialism, colonialism, and nation-state building and its impact on tradition, and how it continues to manifest in our lives today. Tradition is still a part of people’s daily lives in Asia, connecting generations, transmitting the values of the community, and serving as a living archive of the future emergence of cultures. On the other hand, it is also estranged by perceptions as a source of patriarchy, authoritarianism, and outdated customs. Departing from an understanding of tradition as a contested space where one can critically reflect on Asian modernization, the exhibition provides a liminal space to expand our knowledge of regional modernity.
The works in Frequencies of Tradition weave together multiple nodes and trajectories through the compelling aesthetics of time-based mediums like video, film, and performances. While ancient animism reveals the equivalence between primeval objects and the futuristic memory sphere, the reality of ruin swaying between the modern and the non-modern lingers enchanted and haunted, invoking an emotionally and psychologically complex. The works invoked by long traditional methods such as craft in weaving and traditional ink painting present intriguing medium practice today. Lastly, we see how the ebb and flow of tradition is not reliant on certain official authorities, with the portraits of unruly women, with the oral transmission of elderly rendering an empowering moment for a ravaged community; with the delightful pilgrimages of different generations sustained by modern machines, and finally with the queering tradition entangled with the genderqueer community. Through fascinating collective memories, spirituality, archival imagination, different technological engagements, and empowerment, the exhibition reveals a mode of the ungovernable. While asking how the development, modernization, the violence of conventions, nationalism, and the norms of such histories continue to manifest and materialize today, the exhibition uncovers an enthralling space found in and through tradition, where one can encounter the vernacular plural state of Asian modernization.
Ho Tzu Nyen's 'Hotel Aporia' (2019) is on view.
- Text from Guangdong Times Museum
* During the exhibition, Ho Tzu Nyen's work is screened at Online Video Exhibition (Platform: kadist.org/kvl). (Click Read More or visit link: https://kadist.org/watch/frequencies-of-tradition/)
艺术家简介 About the artist
通过戏剧性的乐谱和光效来呈现大量的历史参照是何子彦（1976年生于新加坡）创作录像和装置作品的主要手法。各不相同的录像作品向人们揭示鲜为人知的东南亚历史的同时，也在指出我们自身并未察觉的未知。何的作品脉络参考一系列文学、艺术史和音乐的文献，一种被扩大强化的模糊、戏剧性和不安的感受充斥于其中。
何子彦曾在世界多地举办个展，包括意大利ar/ge kunst美术馆（2020）、欧登堡Edith-Russ-Haus for Media Art（2019）、汉堡艺术协会（2018）、上海明当代美术馆（2018）、横滨表演艺术论坛（2018）、香港亚洲艺术文献库（2017）、毕尔巴鄂古根海姆博物馆（2015）、东京森美术馆（2012）、悉尼艺术空间（2011）等 。此外，何曾代表新加坡参加2011年第54届威尼斯双年展。其群展包括巴塞尔Theaterfestival Basel（2020）、锡根当代艺术博物馆（2020）、深圳坪山美术馆（2020）、台湾金马宾馆当代美术馆（2020）、釜山当代美术馆（2019）、2019爱知三年展（2019）、贝鲁特Home Works 8（2019）、第14届沙迦双年展（2019）、第12届光州双年展（2018）、新加坡国家美术馆（2018）、达卡艺术峰会（2018）、柏林世界文化宫（2017）、纽约古根海姆博物馆（2016）、布里斯班现代美术馆（2016）、广州时代美术馆（2013）和鹿特丹维特·德维茨当代艺术中心（2012）等。其还曾多次参加国际电影节，包括美国帕克城举行的2012年圣丹斯电影节、和2009年第41届法国戛纳国际电影节导演双周单元。何还曾完成德意志学术交流中心艺术家项目（2015-2016）和香港亚洲艺术文献库的艺术家驻留项目（2012-2015）。
图片由ArtReview Asia提供
Image courtesy of ArtReview Asia
摄影 Photo by: Matthew Teo
A plethora of historical references dramatised by musical scores and allegorical lighting make up the pillars of Ho Tzu Nyen’s (b. 1976, Singapore) complex practice that primarily constitutes video and installation. Features in their own right, each work unravels unspoken layers of Southeast Asian histories whilst equally pointing to our own personal unknowns. Permeating Ho’s work is a pervasive sense of ambiguity, theatricality and unease, augmented by a series of deliberate literary, art historical and musical references.
Ho Tzu Nyen has been widely exhibited with one person exhibitions at ar/ge kunst, Italy (2020), the Edith-Russ-Haus for Media Art, Oldenburg (2019), Kunstverein, Hamburg (2018), Ming Contemporary Art Museum, Shanghai (2018), TPAM, Yokohama (2018), Asia Art Archive (2017), Guggenheim Museum, Bilbao (2015), Mori Art Museum, Tokyo (2012) and Artspace, Sydney (2011), amongst others. He also represented Singapore at the 54th Venice Biennale (2011). Recent group exhibitions include Theaterfestival Basel, Basel (2020), Museum für Gegenwartskunst Siegen, Siegen (2020), Pingshan Art Museum, Shenzhen (2020), ALIEN ART Centre, Taiwan (2020), Museum of Contemporary Art Busan, Busan (2019), Aichi Triennial 2019, Toyota City and Nagoya City (2019), Home Work 8, Beirut (2019), Sharjah Biennial 14, Sharjah (2019), Gwangju Biennale, Gwangju (2018), National Gallery Singapore, Singapore (2018), Dhaka Art Summit 2018, Dhaka (2018), Haus der Kulturen der Welt, Berlin (2017), Guggenheim Museum, New York (2016), Queensland Art Gallery / Gallery of Modern Art, Brisbane (2016), Times Museum, Guangzhou (2013), and Witte de With, Rotterdam (2012). He has participated in numerous international film festivals including Sundance Film Festival in Park City, Utah (2012) and the 41st Directors’ Fortnight at the Cannes International Film Festival in France (2009). He was an Artist-in-Residency at the DAAD (Berlin) from 2015 to 2016, and the Asia Art Archive, Hong Kong (2012 to 2015).
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