

图片由 OCAT 深圳馆和华·美术馆提供
Image courtesy of OCAT Shenzhen and OCT Art & Design Gallery
正在展出 Current Exhibition
群展 Group Exhibition
“策展课II”
"The Curation Workshop II"
展期 Date: 2020.12.30-2021.5.7
地址 Address:
华·美术馆
深圳市南山区华侨城深南大道9009-1号;
OCAT深圳馆A展厅
深圳市南山区华侨城恩平街华侨城创意文化园南区F2栋OCAT深圳馆
OCT Art & Design Gallery
No.9009-1, Shennan Road, Overseas Chinese Town, Nanshan District, Shenzhen;
Exhibition Hall A, OCAT Shenzhen
OCAT Shenzhen, Building F2, OCT-Loft, Enping Road, Nanshan District, Shenzhen
(Scroll down for English version)
“策展课”是一个创造型的展览,以推动新策展、新语言为主要目的。2019年“策展课”的首次出现,在艺术界引发了巨大反响,掀起了一股关于“策展”研究热的浪潮。“策展课”汇集了中国新一代策展人,他们有着更为明确、专业和系统化的策展语言,开阔的视野和独立的工作方式。
2020年,第二届“策展课”迎来巨大的改变,由OCAT深圳馆和华·美术馆共同主办,并在两馆同时展出,由策展人崔灿灿和华·美术馆执行馆长冯峰共同发起。
展览分为两部分,“策展课Ⅱ:故事与结构”在华·美术馆,在展览模式上,它沿用了上一届的组织方式,邀请了41位(组)不同类型的艺术家和项目,以及更多的策展人(19位)参与进来,用不同的结构创作19个全新的故事;“策展课Ⅱ:一个馆群的抽样案例”在OCAT深圳馆A展厅,是策展课的全新举措,它选取了近几年OCAT馆群的5个分馆和1个展区中,策展语言最为典型和实验的项目进行梳理,回顾中国最大的当代艺术馆群和策展之间的丰富关系,策展的不同类型和处境,以及作出的创新与回应。
陶辉的单频录像《德黑兰的黄昏》(2014)以及娜布其的青铜系列《原野》(2018)于“策展课Ⅱ”的不同策展方案中进行展出。
——文字来源于 OCAT 深圳馆和华·美术馆

(录像静帧 Videol still)
≡ 陶辉 Tao Hui
德黑兰的黄昏The Dusk of Teheran, 2014
单通道彩色有声高清录像 Single-channel video, color, sound
4 min 14 sec
图片由艺术家,马凌画廊和施博尔画廊提供
Image courtesy of the artist, Edouard Malingue Gallery
and Esther Schipper Gallery
在伊朗,很多女性的权利被以保护女性的名义所压制,婚姻法框架下的女性总是被动的。娱乐是被禁止的,女性歌手更是不能公开演唱的,而在香港这个有自由传统的地方,女性可以更自由的追寻自己的感情,理想,生活方式,艺术家选择让一个在剧院工作的伊朗女孩在私人汽车里重新演绎了香港已故女明星梅艳芳生前在演唱会上的一段与粉丝的对话,这段对话呈现了梅艳芳对爱情与婚姻的自由追逐,艺术家试图寻找不同民族,不同地域的人在相同故事的框架下,呈现出来差异性与共同点。
In Iran, many rights of women are suppressed under the name of protecting women. Women are always in a passive position in the frame of marriage law. Entertainment is forbidden for women and female singers are not allowed to give open performances. HK is a traditional place advocating for freedom and women in HK may freely pursue for their own love, dream and lifestyle. The artist chose to have an Iranian girl, who worked for a theater, reproduce a dialogue between the deceased HK female star Anita Mui and her fans in a private car. The dialogue shows the free pursuit of Anita Mui for love and marriage. The artist is attempting to seek for the differences and common points presented by people from different nations and areas in the same story frame, and also hope to show the attitude of Iranian women toward life and emotion through such a kind of performance and review the free space for people under the governance of totalitarianism.
(左右滑动查看更多 Slide for more)
≡ 娜布其 Nabuqi
展览现场 Installation view
(分别为 In order:)
原野(栅栏)Field (Fence)
原野(阳伞)Field (Umbrella)
原野(公园椅)Field (Park bench)
原野(凉亭)Field (Pavilion)
原野(滑梯)Field (Slide)
原野(树林)Field (Woods)
原野(大门)Field (Gate)
原野(路灯)Field (Street lamp)
2018
青铜 Bronze
10 x 23 x 23 cm
图片由 OCAT 深圳馆和华·美术馆提供
Image courtesy of OCAT Shenzhen and OCT Art & Design Gallery
日本建筑理论家五十岚太郎在提及城市空地时称之为“原野”。这些没有确定功能或以待开发的场所,是一种具有更多可能性和想象空间的场所。在“原野”系列的雕塑中,在不同的公共空间出现的结构(物品),如路灯,滑梯,公园椅,凉亭等代表了不同的场所,这些结构(物品)属于特定场所,代表了场所的功能性,也是对身体的指引。通过这些有使用功能的结构(物品),在公共场所中寻找身体的私密性,所以,这些看似无人的场景,实际上充满了人的身体和场所的关联性。
Japanese architectural historian and critic Taro Igarashi speaks of wilderness, where specific functions are wanting, or is to be developed. It is a place of possibilities and imaginations. In the Field series, objects and structures found and installed in different public spaces such as street lights, playground slides, park chairs and pavilions represent the places they belong to. Specifically, they represent the functionality of the various spaces, and guides the human bodies wandering within and through. Via these functional structures (objects), the private nature of the bodily in the public sphere is explored; the seemingly haunting scenes, therefore, is charged with the relationship between the human bodies and the places.
“The Curation Workshop” is essentially a creative exhibition whose primary purpose is to promote new curatorial methods and languages. Its debut in 2019 aroused a real buzz in the art community, launching a new wave of research on curation. The Curation Workshop brings together a new generation of curators in China, who are familiar with the language of curation that is more straightforward, professional, and systematic, and enjoy broader perspectives and independence.
The second “Curation Workshop”, co-initiated by the curator Cui Cancan and Feng Feng, Executive Director of OCT Art & Design Gallery, embraces a significant change in 2020. Co-organized by OCAT Shenzhen and OCT Art & Design Gallery, the project incorporates two parallel exhibitions held at their respective venues.
“The Curation Workshop II: Story and Structure”, will be housed in OCT Art & Design Gallery, following the same format as its prior edition: 41 artists and projects of different genres are invited, and a larger cohort of 19 curators are recruited to create 19 new stories with different structures.
“The Curation Workshop II: Sample Cases from OCAT”, will be presented at OCAT Shenzhen, as a fresh perspective added to the event by selecting and reviewing the projects with the most typical and experimental languages of curation that have been staged in the five venues and one sub-venue of OCAT in recent years. On this basis, it will examine the intricate relationships between China’s largest art terminal and curation and takes a closer look at different approaches to curation, their current developments, and the innovative responses made.
Tao Hui’s single-channel video ‘The Dusk of Teheran’ (2014) and Nabuqi’s bronze work series ’Field’ (2018) are exhibited in the different curatorial programs at “The Curation Workshop II”.
- Text from OCAT Shenzhen and OCT Art & Design Gallery
艺术家简介 About the artist
娜布其
无论是被我们视作是真实的事物,还是我们与物件及物质相作用过程的心理本质,都是娜布其(1984年生于内蒙古,现生活于北京)艺术创作的长期主题。从手工塑造的雕塑作品,到应用了大量现成物的装置作品等,娜布其的艺术实践一直牵引观众前去观察细节及语境,去适应并考虑虚构与实在之间的复杂关系。娜布其由此建立的领域强调我们对周遭世界的理解,并将我们引入关于空间政治的探索之中去。娜布其探索视觉现象、观察的维度,以及我们接受并质疑的既成现实。通过讨论自然、私人空间等熟悉的主题,娜布其将观者引入关于“在场”的思辨之中,让观者反思其感知面对之物在当下、过去及未来状态的方式。娜布其的庞杂装置作品因此指向了我们的认知习惯,并以智慧及戏剧性鼓励我们反思既定思维模式的意义。娜布其于2013年毕业于中央美术学院,现生活工作于北京。其近期展览包括:第58届威尼斯双年展(威尼斯,2019);“寒夜”,(UCCA当代艺术中心,北京,2017);“缺失的段落”,(Museum Beelden aan Zee,海牙,2017);“球场”(中央美术学院美术馆,北京,2017);第十一届上海双年展:“何不再问?正辩,反辩,故事”(2016),以及第十一届光州双年展“第八种气候(艺术做什么)”(2016)。

图片由艺术家提供
Image courtesy of the artist
What we perceive as real, the psychological nature of how we engage with objects and material, are running threads throughout the works of Nabuqi (b. 1984 Inner Mongolia, lives Beijing). Ranging from handmade sculptures to installations made from assembling readymades, there is a pull for the viewer to engage with detail and context, to be attuned to and reflect upon the spectrum between artificial and actual. As such, Nabuqi creates realms that prompt our understanding of the world around us and engage us in a play of spatial politics. Nabuqi plays with the optics and spectrum of observation, the programming that we accept and also question. Through addressing the familiar - nature, domesticity - the viewer is more deeply engaged in considering ‘presence’, how one perceives what is in front of them at present, what it was before and will be in the future. Nabuqi’s elaborate installations thus point to our epistemological idiosyncrasies and prompt, with wit and theatricality, a reflection on our constructed norms. Nabuqi graduated from the Central Academy of Fine Arts in 2013, and currently lives and works in Beijing. Her recent exhibitions include 58th Venice Biennale (Venice, 2019); Cold Nights (UCCA Art Centre, 2017); Absent Paragraph (Museum Beelden aan Zee, 2017); Any Ball (Central Academy of Fine Arts, 2017), The 11th Shanghai Biennale (2016) and the 10th Gwangju Biennale (2016). She has been nominated for the 2016 Art Sanya Huayu Youth Award.
陶辉
陶辉1987年出生于重庆云阳,毕业于四川美术学院的油画系,现工作生活于北京。虽然毕业于油画系,但陶辉的作品以影像和装置艺术为主,从个人记忆、视觉经验和大众文化中积累素材,通过提炼与改造形成崭新的叙事模式和影像风格。陶辉从社会身份、性别地位、种族问题和文化危机等问题入手,以荒诞、吊诡、夸张的场景搭建,充满隐喻和错位感的人物设置,呈现出当代人的集体经验,带动观者正视自身的文化历史、生存现状和社会身份。他曾于2008年获得四川美术学院的“当代艺术档案特殊奖”,并在2015年荣获三亚艺术季华宇青年奖评委会大奖。2015年陶辉在SESC巴西录像艺术节“南部全景”单元上获得特奖,又于2017年先后入选HUGO BOSS亚洲新锐艺术家大奖和KINO DER KUNST电影节“国际竞赛”单元。2019年,他入围首届由香港M+展亭成立的希克奖。他的个展包括:OCAT西安馆的“一点儿不多余”(2017)和北京尤伦斯当代艺术中心的“新倾向:陶辉”(2015)。参加的群展包括:台北凤甲美术馆的“第七届台湾国际录像艺术展—ANIMA阿尼玛”(2020);京都艺术中心的“Methods of Connection”(2020);国立亚洲文化殿堂(ACC)群展(2019);罗马当代艺术博物馆的“SESC巴西录像艺术节影像展”(2019);第四届温哥华双年展"re-IMAGE-n"(2019);上海外滩美术馆和Para Site艺术空间的”百物曲“(2019);上海当代艺术博物馆的第11届上海双年展“何不再问”(2016年);巴黎路易威登基金会的“本土:变革中的中国艺术家”(2016);上海K11基金会的“骇客空间”(2016);圣保罗SESC巴西录像艺术节“南部全景”单元(2013)。

图片由艺术家,马凌画廊和施博尔画廊提供
Image courtesy of the artist,
Edouard Malingue Gallery
and Esther Schipper Gallery
Tao Hui was born in Yunyang, Chongqing, China. He graduated from Sichuan Fine Arts Institute with a BFA in Oil Painting in 2010 and currently lives and works in Beijing, China. Tao traversed into the art of video and installation, drawing from personal memories, visual experiences and popular culture to weave an experimental visual narration, the focus of which is often our collective experience. Running throughout his work is a sense of misplacement vis-à-vis social identity, gender status, ethnicity and cultural crisis, prompting the audience to face their own cultural histories and living conditions. He won the special award of Contemporary Art Archive from Sichuan Fine Arts Institute in 2008 and ‘Art Sanya & Huayu Youth Award’ in Sanya in 2015. He also won the grand prize of 19th “Contemporary Art Festival Sesc Videobrasil”, and was shortlisted for “HUGO BOSS ASIA ART Award for Emerging Asian Artists” and International Competition sector of the KINO DER KUNST festival in 2017. In 2019, he is shortlisted for the inaugural Sigg Prize. His solo exhibitions include OCAT Xi’an, Xi’an, China, 2017; UCCA, Beijing, China, 2015. Group exhibitions include 'The 2020 Taiwan International Video Art Exhibition - ANIMA', Hong-gah Museum, Taipei, 2020; 'Methods of Connection', Kyoto Art Center, Kyoto, Japan, 2020; Asia Culture Center(ACC) group exhibition, Gwangju, Korea, 2019; ‘Collezione Videobrasil, Opere Vincintrici Del Contemporary Art Festival Sesc_Videobrasil’, MACRO ASILO, Rome, Italy, 2019; ‘re-IMAGE-n’, the 4th Vancouver Biennale, Vancouver, Canada, 2019; ‘An Opera for Animals’, Rockbund Art Museum, Shanghai, China / Para Site, Hong Kong, China (2019); 11th Shanghai Biennale’, PSA, Shanghai, China, 2016; Fondation Louis Vuitton, Paris, France, 2016; chi K11 Art Space, Shanghai, China, 2016; ‘Contemporary Art Festival Sesc Videobrasil: Southern Panoramas’, São Paulo, Brazil, 2013, 2015.

