≡ 阿比查邦·韦拉斯塔古 Apichatpong Weerasethakul“夜的外围”展览现场，维勒班当代艺术中心，维勒班，法国Installation view of "Periphery of the Night", Institut d'art contemporain, Villeurbanne, FranceImage courtesy of IAC, Villeurbanne摄影 Photo: Studio Hans Wilschut
正在展出 Current Exhibition
群展 Group Exhibition
“夜的外围”
"Periphery of the Night"
阿比查邦·韦拉斯塔古 Apichatpong Weerasethakul展期 Date: 2021.7.2-11.28
地址 Address: 法国维勒班当代艺术中心
Institut d'art contemporain
11 rue Docteur Dolard, 69100 Villeurbanne, France
(Scroll down for English version)
泰国艺术家和电影制作人阿比查邦·韦拉斯塔古的个展“夜的外围”（Periphery of the Night）正在法国维勒班当代艺术中心（IAC Villeurbanne）展出。透过从电影到艺术作品，从环境到录像，阿比查邦表现了一种延展电影的概念。展览每个空间都呈现了一个沉浸式项目，动物和人类、鬼魂和森林、生者和死物共同栖息于这令人沉睡的间隙世界中。艺术家由此呼应着IAC和Laboratoire espace cerveau的感知学和宇宙学方法论：作品的晦暗被赋予了颠覆性的力量，仿佛黑暗的体验或将我们改造、并重新激活我们与生者之间的对话。这另类的昏暗，则意在设定一种能体现真诚同情心的关系生态。
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≡ 阿比查邦·韦拉斯塔古 Apichatpong Weerasethakul
“夜的外围”展览现场，维勒班当代艺术中心，维勒班，法国
Installation view of "Periphery of the Night", Institut d'art contemporain, Villeurbanne, FranceImage courtesy of IAC, Villeurbanne摄影 Photo: Studio Hans Wilschut
展览空间多为暗房，展出约20件作品，其中包括从未展出过的作品。展览运用投影和设备创造了各种媒体触发式的环境，在空间中进行了一场之于艺术的庞大扩展。观众被邀请随着录像的明暗变幻和穿透性声景而沉醉于其令人陶醉的节奏里，从而不断地在意识状态之间循环切换，流连于清醒与昏睡的边界之中。
≡ 阿比查邦·韦拉斯塔古 Apichatpong Weerasethakul
“夜的外围”展览现场，维勒班当代艺术中心，维勒班，法国
Installation view of "Periphery of the Night", Institut d'art contemporain, Villeurbanne, FranceImage courtesy of IAC, Villeurbanne摄影 Photo: Studio Hans Wilschut
艺术家所欲探索的正是这种阈限的边界，这种夜的 “外围"。他的童年就是在丛林的边界中度过的。夜晚的外围，有如一个独特的时空，但却与白昼仅咫尺之遥、触手可及。从一开始，阿比查邦·韦拉斯塔古作品中的造型美与所凝视的主题，就因一种更广阔的诗性而获得延展。与此同时，他的创作手法也尤其触及语言的层面。他常常在录像中引用诗与寓言，这种使用隐喻的文学倾向由内而外地弥漫在他的创作之中。图像无法解释一切；它必须被打开，直面不同的感知手段，以使影像中的色彩、微动、光线和感觉被更敏锐地感受到。阿比查邦作品的空间化，并没有使我们变得被动，反而让我们参与到这种被激化的感觉性中，让我们能透过身体来拥抱它的轮廓。
— 译自由维勒班当代艺术中心提供的文字。
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≡ 阿比查邦·韦拉斯塔古 Apichatpong Weerasethakul
“夜的外围”展览现场，维勒班当代艺术中心，维勒班，法国Installation view of "Periphery of the Night", Institut d'art contemporain, Villeurbanne, FranceImage courtesy of IAC, Villeurbanne摄影 Photo: Studio Hans WilschutThe IAC presents Periphery of the Night, an ambitious monograph on Thai artist and filmmaker Apichatpong Weerasethakul. From films to artworks, environments to videos, an expanded conception of cinema is represented by this artist. Presenting an immersive project for every room, in which animals and humans, ghosts and forests, the living and the dead cohabitate in slumbering interstitial worlds, the artist echoes the perceptual and cosmomorphic approaches of the IAC and the Laboratoire espace cerveau: the obscurity of these artworks is charged with subversive power, as though the experience of darkness might transform us and reactivate our conversation with the living. At the heart of this alternative half-light, the idea is to deploy a relational ecology that represents a true science of compassion.
≡ 阿比查邦·韦拉斯塔古 Apichatpong Weerasethakul
“夜的外围”展览现场，维勒班当代艺术中心，维勒班，法国Installation view of "Periphery of the Night", Institut d'art contemporain, Villeurbanne, FranceImage courtesy of IAC, Villeurbanne摄影 Photo: Studio Hans Wilschut
Featuring dark rooms and comprising around twenty artworks, including unprecedented pieces, the exhibition multiplies projection media and devices, creating all kinds of initiatory environments in which a tremendous art of expansion is undertaken. Swept up in the bewitching rhythm of the videos, with their plays of light and dark and the penetrating soundscape that accompanies them, visitors are invited to circulate from one to the other in a state of altered consciousness, on the borders of wakefulness and sleep.
≡ 阿比查邦·韦拉斯塔古 Apichatpong Weerasethakul
“夜的外围”展览现场，维勒班当代艺术中心，维勒班，法国
Installation view of "Periphery of the Night", Institut d'art contemporain, Villeurbanne, FranceImage courtesy of IAC, Villeurbanne摄影 Photo: Studio Hans Wilschut
It is this liminal border, this nocturnal ‘periphery’ that the artist explores, having spent his own childhood on the edge of the jungle. The periphery of the night: a distinct space-time, yet nevertheless within reach, a stone’s throw from daylight. From the outset, in Apichatpong Weerasethakul’s work, plastic beauty, the subject of the gaze, is extended by a broader poetic meaning, which notably touches on language: this literary trend for metaphor permeates his works, from both interior and exterior – the artist regularly accompanies his videos with poems or allegorical tales. The image cannot take everything into account; it must be opened up, confronted with different means of perception, in order for the colours, micromovements, light, and sensations in his videos to be more acutely felt. The spatialisation of his work, far from rendering us passive, allows us to partake in this exacerbated sensoriality, allowing us to physically embrace its contours.
- Text by IAC, Villeurbanne.
艺术家简介 About the artist
阿比查邦·韦拉斯塔古（1970年生）出生于泰国曼谷，成长于泰国东北部的孔敬，曾入读孔敬大学主修建筑，其后留学美国芝加哥艺术学院学习电影制作并取得硕士学位，他从1994年开始制作电影和录像短片，成为泰国独立电影制作人。阿比查邦的电影和艺术之间本质上并无太大的差异，政治和社会问题总是以一种隐晦的、个人化的方式提出，并隐藏在他神秘而诗意的艺术语言中。通过对时间和光线的掌控，对演员的调度，阿比查邦为观众搭建了一座纤弱的桥梁，让他们在真实与神话、个人与集体、灵与肉之间穿行，通过非传统的叙事结构邀请观众进入他个人的意识世界，里面满是记忆、神话、他的梦境和渴望。阿比查邦曾在多地举办个展，包括台北市立美术馆（2019）、美国俄克拉荷马城市艺术博物馆（2018）、马尼拉当代艺术设计博物馆（2017）、伦敦泰特现代美术馆（2016）、西班牙第53届希洪国际电影节（2015）等。其群展包括第58届威尼斯双年展（2019）、北京红砖美术馆（2018）、光州双年展（ 2018）、第14届里昂双年展（2017）、第20届悉尼双年展（2016）、琦玉三年展（2016）、美国卡蒂斯特艺术基金会（2015）、香港Para Site（2015）等。
图片由Kick the Machine提供
Image courtesy of Kick the Machine
Apichatpong Weerasethakul (b. 1970) was born in Bangkok, raised in Khon Kaen. He studied architecture at Khon Kaen University and later received an MFA in filmmaking from the School of the Art Institute of Chicago. He started making films and videos in 1994 and has become an independent film producer in Thailand. Apichatpong Weerasethakul’s films and artworks are essentially the same. The political and the social are always alluded to, playing integral parts in his mysterious and poetic artistic language. By working chiefly on time and light, and by working meticulously with actors, Weerasethakul builds a delicate bridge for the audience, and allows them to travel through the real and the mythical, the individual and the collective, the spiritual and the somatic, entering via unorthodox narratives a rich consciousness, where one finds the artist’s memories, mythologies, dreams and desires. Weerasethakul has held solo exhibitions at Taipei Fine Arts Museum, Taiwan (2019), Oklahoma City Museum of Art, Oklahoma (2018), the Museum of Contemporary Art and Design (MCAD), Manila (2017), Tate Modern, London (2016), and 53rd Gijón International Film Festival, Spain (2015), amongst others. Recent group exhibitions include 58th Venice Biennale, Venice (2019), Red Brick Art Museum, Beijing (2018), Gwangju Biennale, Gwangju (2018), 14th Lyon Biennale, Lyon (2017), 20th Biennale of Sydney (2016), Saitama Triennale, Saitama (2016), Kadist Art Foundation, San Francisco (2015) and Para Site, Hong Kong (2015).
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