户尔柏林｜拉斐尔·多梅内克「来自某处的记号」平行展览项目——「再无他处」

展览现场 Exhibition view | 照片提供 Photo by: Liu Tong

展期 Duration

Permanent exhibition

地址 Location

P71便利店，波茨坦大街71号，柏林

P71 Spätkauf on Potsdamerstraße 71

户尔空间很荣幸地为您带来《来自某处的记号》，艺术家拉斐尔·多梅内克首次德国个人展览。在本次展览中，这位出生在古巴、居住在纽约的艺术家同时将在柏林标志性地标波茨坦大街周围创造平行项目，突出其独特的展览构建方法。

从画廊空间中盘旋而出，进入各种城市性项目，其灵感来自于汉斯·法拉达所创作的一部提供了关于柏林独特视角的文学作品《每个人都孤独地死去》(1947)。根据真实故事改编，二战期间，一对工人阶级夫妇在儿子被纳粹迫害去世后，在被占领的柏林留下抵抗纳粹的信息，他们每天在城市四处投下明信片，邮箱里、长椅上，或者直接扔在地上，上面写着：“母亲！元首已经杀害了我的儿子。母亲！元首也会杀害你的儿子！”。这些无声的布告同时指向大量的方向：公民不服从、具象诗、建筑，接邻与错位。通过参观与对信息诗歌的反复体验，平行项目以此也与主展览相关联，强调了多梅内克实践中，此处，无处，各处与某处的关系。而这些桥接的现实与交联的空间却总是揭示着更多存留的未知。

在平行项目《再无他处》（2021年）中，拉斐尔·多梅内克从法拉达的小说中得到启发，在P71的天花板上创作了一个永久性装置，这是一家位于柏林波茨坦大街71号的传统柏林深夜便利店（俗称späti）。这句标语是在研究1892年匹兹堡历史性工人运动 “家园罢工 ”的档案时发现的，此次运动的失败是美国工会的历史转折点。这句标语因为其强烈的形象，被艺术家作为视觉诗重新运用到不同的作品中。而这也是对工人运动历史上关键性战斗的无声纪念。

在这场战斗中，一边是意图在匹兹堡成立工会的钢铁工人，另一边则是工厂老板安德鲁·卡内基和被雇来对抗工会的经理亨利·克莱·弗里克。罢工期间，钢铁工人烧毁了他们能烧毁的东西以示抗议，但遗憾的是，除了沮丧工人们一无所获。在绝望之际，工人们把油洒在匹兹堡河上，试图点燃河流。这件作品也因此表达了对社会不公的愤怒以及与抗议者共同奋起的愿望。

Hua International is pleased to announce “Notations from Somewhere,” Rafael Domenech’s first solo show in Berlin. In addition to the gallery exhibition, the Cuban-born, New York-based artist, has created parallel projects around Potsdamer Straße that highlight Domenech’s distinctive approach to exhibition-making.

The exhibition spirals out of the gallery space into various city-wide projects inspired by a work of literature that provides a unique perspective on Berlin, Every Man Dies Alone (1947) by Hans Fallada. The novel is based on a true story of a working-class couple that left letters of resistance against the Nazis across occupied Berlin after the death of their son during World War II. Everyday they dropped postcards that said, “Mother! The Führer has murdered my son. Mother! The Führer will murder your sons too” in mailboxes, on benches, or just drop them on the ground. These silent billboards of dissent pointed in a wealth of directions all at once: civil disobedience, concrete poetry, architecture, proximity and dislocation. All the parallel projects relate back to the exhibition through our own traveling and the repeated experience of the message-poems that underscore the relationship between here, nowhere, everywhere, and somewhere in Domenech’s practice. These bridging realities and interconnecting spaces always point to how much remains unknown.

In There is no longer an elsewhere (2021) Rafael Domenech has taken a cue from the novel and created a permanent installation on the ceiling of P71, a traditional Berlin late-night shop (colloquially known as späti) located at Potsdamerstraße 71. The phrase “Here, we burnt the river” was discovered while researching the archives of the keystone historic 1892 “Homestead Strike” in Pittsburg, a defeat that marked a turning point for American labor Unions. The phrase is re-appropriated by the artist as a visual poem in various works for its potent image.The phrase is transformed into a calligram cut onto the späti’s square ceiling tiles (each tile becomes a single letter),while it also serves as a silent memorial to a pivotal battle in labor history.

On one side,the steelworkers who wanted to form a union in Pittsburgh,on the other side,Andrew Carnegie the owner of the factory and Henry Clay Frick the manager hired to fight the unions. During the strike, the steelworkers burned down what they could in protest but it only led to frustration, in desperation they spilled oil on the Pittsburgh river and tried to light it on fire. The poem expresses the rage against the social injustices and desire of protesters to rise up together.

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