同行/重置文本系统|Renée Green
Renée Green（b.1958）美国艺术家，作家，电影制作人，创作方式多元化包括声音、雕塑、摄影、印刷、建筑，视频、网页设计等等。她的创作关注文化人类学、社会历史与后现代主义理论，并将调查与研究转译成自己的语汇。视频来自她展览现场的拍摄片段，与她声音文本的词语碎片剪辑并粘合。
“总是在梦中，更多时候在虚构的层面，打开了一些人如何生活的可能性。”
——Renée Green
Begin Again, Begin Again (2018) and Space Poem #5 (Years & Afters) (2015).Photo: MOMENTUM.
Courtesy of the practicioner.
Space Poem #5 (Years & Afters) (2015).
Photo: MOMENTUM. Courtesy of the practicioner.
Space Poem #5 (Years & Afters) (2015).
Photo: MOMENTUM. Courtesy of the practicioner.
Space Poem #5 (Years & Afters) (2015).
Photo: MOMENTUM. Courtesy of the practicioner.
Renée Green通过将电影、数字媒体、声音和写作与摄影、纺织品、版画和其他媒介相结合的复杂雕塑装置来审视文化、历史、记忆和美学。根据文化人类学和社会历史的组织原则，她的艺术实践是研究密集型的，理论严谨，而且经常涉及多种不同类型的合作者。自20世纪80年代末以来，Green探索了各种各样的主题，包括法国城市Nantes和Clisson等非洲奴隶贸易遗址、Saartjie Baartman（又被称为Hottentot Venus）的塑像以及德国的嘻哈音乐。艺术史学家亚历山大·阿尔贝罗（Alexander Alberro）评价，Green 广阔的艺术作品背后隐藏着一种“引用方法论"，" 完全基于先前存在的碎片中的能量构建了一种新的历史类型”。
Green的展览、录像和电影已经在世界各地的博物馆和艺术机构展出，其中包括哈佛视觉艺术学院的Carpenter Center ; 西好莱坞 Schindler House的MAK 艺术与建筑中心；纽约的 Museum of Modern Art, Whitney Museum of American Art 和New Museum，以及许多其他博物馆。Musée cantonal des Beaux Arts, Lausanne, Switzerland (2009), Yerba Buena Center for Visual Arts, San Francisco (2010), 和柏林的KW Institute for Contemporary Art and daadgalerie (2021)对她的作品进行了全面的评述。她也是麻省理工学院建筑与规划学院艺术、文化和技术项目的教授。
Edmond Laforest, 1988, installation view
KW Institute for Contemporary Art, Berlin, 2021.
Courtesy: Collection of Marguerite Steed Hoffman, Dallas; photograph: Frank Sperling
Colour Games, 1989,
Wood, acrylic, and ink on Masonite
88.9 x 48.3cm
Neutral/Natural, 1990, Installation. Installation view
“Ongoing Becomings”, Musée cantonal des Beaux Arts, Lausanne, Switzerland, 2009. Image: Free Agent Media.
Which?, 1990
Mixed media on wood, 244 x 81 x 10 cm
Installation view. “Social Studies: 4 + 4 Young Americans”, Allen Memorial Art Museum , Oberlin College, Oberlin, Ohio, 1990.
Seen, 1990
Mixed media: wooden platform, rubber-stamped ink, screen, motorized winking glass, magnifying glass, spotlight, sound , 207 x 207 x 136 cm. Installation view, Galleria Emi Fontana, Milan, Italy, 1998.
Permitted, 1989
Mixed media, 122 x 122 cm
Color / No Color, 1990
Wood, latex enamel paint, Letraset dry transfer, rubber stamped ink type, 76.2 x 167.6 cm
Standardized Octagonal Units for Imaginary and Existing Systems, 2002.
Installation view, Documenta 11, Kassel Auerpark, Germany, 2002. Image: Werner Maschmann.
Bequest, 1991,
Installation view, Less Than One, Walker Art Center, Minneapolis, MN, 2016. Image: Gene Pittman.
Sites of Genealogy (Loophole of Retreat), 1990,
mixed media, dimensions variable.
Installation view, MoMA PS1, New York, 1990.
Photo: Tom Warren.
Import/Export Funk Office, 1992.
Installation view, Museum of Contemporary Art (MOCA), Los Angeles, CA, 2001. Image: Brian Forrest
Green的最近著作包括 Pacing（2020, CCVA, FAM, Cambridge, Mass），Other Planes of There: Selected Writings (2014, Duke University Press, Durham) 、 Endless Dreams and Time-Based Streams (2010, Yerba Buena Center for the Arts, San Francisco), 以及Ongoing Becomings (2009, Musée cantonal des Beaux-Arts, Lausanne)。她还是 Negotiations in the Contact Zone (2003, Assírio & Alvim, Lisbon)的选文编辑。
Commemorative Toile, 1992–1993
installation view, KW Institute for Contemporary Art, Berlin, 2021. Courtesy: Musée cantonal des Beaux-Arts, Lausanne; photograph: Frank Sperling
Sites of Genealogy (Fear, Flight, Fate; Matrix), 1990
installation view, KW Institute for Contemporary Art, Berlin, 2021. Courtesy: Free Agent Media; Bortolami Gallery, New York; Galerie Nagel Draxler, Berlin/Cologne/Munich; photograph: Frank Sperling
Übertragen/Transfer, 1997
installation view, KW Institute for Contemporary Art
Berlin, 2021. Courtesy: Museum Ludwig, Cologne; photograph: Frank Sperling
Begin Again, Begin Again, 2015
Installation view, MAK Center for Art + Architecture at the Schindler House, Los Angeles, CA, 2015. Photo: Joshua White.
Import/Export Funk Office, 1992–1993
installation view, KW Institute for Contemporary Art, Berlin, 2021. Courtesy: Museum of Contemporary Art, Los Angeles; photograph: Frank Sperling
‘Inevitable Distances’, 2021
exhibition view, daadgalerie, Berlin.
Courtesy: the artist; photograph: Frank Sperling
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