{{sindex}}/{{bigImglist.length}}

泰国双年展现场｜杨福东新作《我痛恨这如此漫长的夜》以非线性叙事模糊现实与梦境的边界

{{newsData.publisher_name}} {{newsData.update_time}} 浏览：{{newsData.view_count}}

来源 | {{newsData.source}} 作者 | {{newsData.author}}

泰国双年展现场｜杨福东新作《我痛恨这如此漫长的夜》以非线性叙事模糊现实与梦境的边界杨福东泰国双年展现场梦境新作现实边界装置彩色崇真艺客

杨福东 / 《我痛恨这如此漫长的夜》，2021 / 7频装置，彩色，有声，音乐：汪文伟，20分50秒

图片致谢：泰国双年展

杨福东

《我痛恨这如此漫长的夜》

泰国双年展，呵叻2021

展期：2021.12.18-2022.03.31

杨福东全新的7频影像装置作品《我痛恨这如此漫长的夜》（The Bitterly Silent Nights I Hate）是受第二届泰国双年展委托完成的在地创作。

杨福东 / 《我痛恨这如此漫长的夜》，2021 / 7频装置，彩色，有声，音乐：汪文伟，20分50秒

图片致谢：泰国双年展

杨福东 / 《我痛恨这如此漫长的夜》，2021 / 7频装置，彩色，有声，音乐：汪文伟，20分50秒

图片致谢：泰国双年展

这也是杨福东在泰国当地摄制组的帮助下首次通过远程实现的拍摄。其灵感来源于当地民间故事Pachit-Orapim，它不仅讲述了两个恋人的浪漫爱情，也说明了披迈（Phimai）这一地名的由来。在披迈拍摄的影像投射于上海的城市景观中，故事在不同的背景里产生了另一层的叙事。在泰国双年展现场，杨福东使用当地材料在披迈国家博物馆的展览空间内构建了一个个独立的结构来展示影像，营造出一种诗意而又神秘的氛围。从一个屏幕到另一个屏幕，这一非线性叙事将观看者引向不同的时期和地点；从古到今；从呵叻到上海。这些影像提醒我们身在披迈，但却为何如此令人难以置信？这其实是梦？又或许，是一场轮回？

泰国双年展现场｜杨福东新作《我痛恨这如此漫长的夜》以非线性叙事模糊现实与梦境的边界杨福东泰国双年展现场梦境新作现实边界装置彩色崇真艺客

杨福东 / 《我痛恨这如此漫长的夜》，2021 / 7频装置，彩色，有声，音乐：汪文伟，20分50秒

图片致谢：泰国双年展

杨福东 / 《我痛恨这如此漫长的夜》，2021 / 7频装置，彩色，有声，音乐：汪文伟，20分50秒

图片致谢：泰国双年展

关于泰国双年展

第二届“泰国双年展——呵叻2021”由泰国文化部当代艺术与文化处主办，于2021年12月18日开幕。双年展主题为“泥泞之上嬉戏的蝴蝶：孕育明智的资本”，围绕着蝴蝶在泥泞上嬉戏、重新带来生机的意象展开，既比喻我们在疫情时期的境遇，也是为直面焦虑与不确定性的人类描述了一种希望。

杨福东 / 《我痛恨这如此漫长的夜》，2021，拍摄现场

图片致谢：香格纳画廊

杨福东 / 《我痛恨这如此漫长的夜》，2021，拍摄现场

图片致谢：香格纳画廊

双年展艺术总监长谷川裕子表示这一主题也受到日本经济学家宇泽弘文“社会共通资本”理论的启发。宇泽弘文认为，“社会共通资本”提供了对维持人类和文化生活至关重要的服务及制度安排。这一概念由三种形式的资本组成：自然资本（自然环境和自然资源）、社会基础设施（道路、桥梁、公共交通系统等）和制度资本（医院、学校、司法和警察系统等）。在为资本主义解毒的主题下，双年展的概念是让所有艺术家直接与当地人合作，以思考并激活在地的文化资本。

杨福东 / 《我痛恨这如此漫长的夜》，2021，拍摄现场

图片致谢：香格纳画廊

杨福东 / 《我痛恨这如此漫长的夜》，2021，拍摄现场

图片致谢：香格纳画廊

本届双年展邀请了来自26个国家的54位艺术家在呵叻地区的医院、大学、寺庙、博物馆、动物园、公园和丝绸村等地进行场域特定创作。

关于艺术家

杨福东1971年出生于北京，毕业于杭州中国美术学院油画系，现于上海生活和创作。自90年代末以来，他创作了一系列重要的影像、装置和摄影作品。他被誉为中国最重要的当代艺术家之一。杨福东的视觉语言始终沉浸在一种梦境般的神秘氛围中。其影像中的人物形象往往静默无声并且虚无缥缈，姿态或动作经过精心编排，将观看者引入一个个无瑕的美学境界。此外他的作品往往有意悬置或模糊时间的概念。

杨福东的作品曾在国际上广泛展出，包括在下列大型艺术机构的个展：上海复星艺术中心（2019）、上海龙美术馆（西岸馆）（2018）、美国佐治亚州萨凡纳艺术与设计学院（2018）、日本东京路易威登文化艺术空间（2017）、韩国大邱美术馆（2016）、上海余德耀美术馆（2015）、新西兰奥克兰美术馆（2015）、澳大利亚墨尔本移动影像中心（2014）、伦敦帕拉索尔当代艺术基金会（2011）、雅典国立当代艺术博物馆（2010）、纽约亚洲协会（2009）、维也纳Kunsthalle Wien美术馆（2005）、意大利都灵里沃利城堡当代艺术博物馆（2005）、芝加哥文艺复兴协会（2004）。2013年，苏黎世美术馆和伯克利大学艺术博物馆及太平洋电影资料馆携手举办了艺术家回顾展。艺术家还多次参加重大国际艺术节，其中包括：沙迦双年展（2013）、威尼斯双年展（2003，2007）、澳大利亚亚太当代艺术三年展（2006）、第十一届卡塞尔文献展（2002）。

2022年11月26日至2023年2月26日，北京尤伦斯当代艺术中心将举办杨福东迄今为止最为全面，也是首次于北京举办的机构个展。

Yang Fudong

The Bitterly Silent Nights I Hate

Thailand Biennale, Korat 2021

December 18, 2021 - March 31，2022

The Bitterly Silent Nights I Hate is a 7-channel video site-specific installation by Yang Fudong, specially commissioned by the Thailand Biennale, Korat 2021.

The Bitterly Silent Nights I Hate is the first work Yang shot from a distance with the help of Thai film crew. The work is inspired by Pachit-Orapim a local folktale that not only tells the romance of two lovers but signified the origin of the name Phimai. The footage from Phimai is projected onto the cityscape of Shanghai, creating another layer to the story with different scenery. Using an auditorium of Phimai National Museum as an exhibition space, Yang made structures from local materials to display the alienated images, creating a poetic, yet eerie atmosphere. Reading the work from layer to layer, Yang’s non-linear storytelling brings the audience to different periods and places; from ancient to modern; and from Korat to Shanghai. The images remind the audiences that they are in Phimai, yet why is it so strange? Is it a dream? Perhaps, it is a reincarnation?

About The Thailand Biennale, Korat 2021

Organized by the Office of Contemporary Art and Culture Ministry of Culture (OCAC), the second edition of the Thailand Biennale, Korat 2021, opened on December 18, 2021. Titled Butterflies Frolicking on the Mud: Engendering Sensible Capital, the theme of the show revolves around the notion of butterflies puddling on the mud to detoxify and re-hydrate – an apt metaphor for our current condition in the pandemic, and inspiration for humankind in the face of anxiety and uncertainty.

Yuko Hasegawa, the Artistic Director of Thailand Biennale, was also inspired by the theory of 'social common capital' by Hirofumi Uzawa, a Japanese economist. For Hirofumi, ‘social common capital’ provides services and institutional arrangements that are crucial in maintaining human and cultural life. It’s comprised of three forms of capital: natural capital (natural environment and natural resources), social infrastructure (roads, bridges, public transportation systems etc.), and institutional capital (hospital, school, judicial and police systems etc). Under the theme of detoxifying capitalism, the concept of the biennale is to have all the artists work directly with the locals in order to reflect on and activate the cultural capital of the sites.

For this edition of the Thailand Biennale, Korat 2021, 54 artists from 26 countries have been invited to create site- specific works across the region of Korat, in hospitals, universities, temples, museums, zoos, parks, and silk villages.

About the artist

Yang Fudong was born in 1971 in Beijing. He currently lives and works in Shanghai. Since the late 1990s Yang Fudong has developed a significant body of work mainly in film, installation and photography. He is considered one of China's most important contemporary artists. Yang’s visual language has always been enveloped in a dream-like mystery. His characters, often silent and disembodied, usually move according to choreographed gestures and transport the viewer into an aesthetically perfect environment. His work deliberately suspends and confuses time.

Yang Fudong studied painting at the Academy of Fine Art in Hangzhou. His work has been exhibited widely internationally, including solo presentations in major institutions such as Fosun Foundation, Shanghai (2019); the Long Museum West Bund, Shanghai (2018); Savannah College of Art and Design, Georgia (2018); Espace Louis Vuitton, Tokyom Japan (2017); Daegu Art Museum, Daegu, Korea (2016); Yuz Museum, Shanghai (2015); Auckland Art Gallery, New Zealand (2015); ACMI, Melbourne, Australia (2014); Parasol Unit, London (2011); National Museum of Contemporary Art, Athens (2010); Asia Society, New York (2009); Kunsthalle Wien, Vienna (2005); Castello di Rivoli, Torino (2005); and Renaissance Society, Chicago (2004). In 2013, Kunsthalle Zurich and Berkeley Art Museum & Pacific Film Archive co-organized his retrospective exhibition. The artist has also participated in prestigious international art events including: Sharjah Biennial, UAE (2013); Venice Biennale, Italy (2003 and 2007); The Asia Pacific Triennial of Contemporary Art, Australia (2006); and Documenta XI, Germany (2002).

From 26 November 2022 to 26 February 2023, UCCA Beijing will hold his most comprehensive institutional exhibition to date and his first in Beijing.

正在展出 I CURRENT EXHIBITIONS

P A R I S

CHANTAL AKERMAN

FROM THE OTHER SIDE

9 DECEMBER 2021 - 5 FEBRUARY 2022

79 rue du Temple

75003 Paris

T 33-1-48-04-7052

paris@mariangoodman.com

Tuesday - Saturday, 11 am - 6 pm

N E W Y O R K