动态 | 2022年威尼斯双年展：艾丽森·卡茨、朵拉·布多、李美来、曾吴

艾莉森·卡茨（b. 1980，蒙特利尔）现生活和工作于伦敦。2002年，她于康考迪亚大学获得艺术学士学位。2008年，她于哥伦比亚大学获得艺术硕士学位。

艾莉森·卡茨的作品反思了当代艺术创作中盘根错节、有时自相矛盾的本质。她将交流的模糊性容纳其中，用戏谑幽默而又刨根问底的手法拓宽了传统意义上的艺术家“标志”。卡茨的作品在若隐若现、半遮半掩的诗意空间中运作，指引着观众去注意绘画表面和绘画主体所构成的多层次意识中。

近期个展：“Artery”， Camden艺术中心，伦敦，英国（2022）；“Allison Katz: Artery”，诺丁汉当代艺术中心，诺丁汉，英国（2021）；“Monograph & Graphics”，Gio Marconi，米兰，意大利（2020）；“Traforati 2019”，Torre Bonomo，斯波莱托，意大利（2019）；“Diary w/o Dates”，奥克维尔画廊，奥克维尔，加拿大（2018）；麻省理工大学List艺术中心，剑桥，英国（2018）；“fig-futures 1/16”，Grundy 艺术画廊，布莱克浦，英国（2018）；“Muse with a Short Fuse”，天线空间，上海（2018）；“Period”，Gio Marconi，米兰，意大利（2018）；“Poster”，Billedrommet，滕斯贝格，挪威（2017）；“AKA”，Gió Marconi，米兰，意大利（2016）；“We boil at different degrees”，The Approach，伦敦，英国（2016）；“All Is On”， 弗莱堡艺术协会，弗莱堡，德国（2015）。

部分群展：“第59届威尼斯双年展：梦想之乳”，双年展花园Giardini展区，威尼斯，意大利（2022）；“Mixing It Up: Painting Today”，海沃德画廊，伦敦，英国（2021）；“众妙之家”，天线空间，上海（2021）；“The Imaginary Sea”，Fondation Carmignac，波克罗勒岛，法国（2021）；“Plus One”，Luhring Augustine，纽约，美国（2021）；“Palama”，MANIFESTA 13，马赛，法国（2020）；“This Corrosion”，现代艺术，伦敦，英国（2020）；“Slow Painting”，由海沃德画廊组织，利兹画廊和莱温斯基画廊等共同呈现，英国（2019-2020）；“Artists I Steal From”，Thaddaeus Ropac Gallery，伦敦，英国（2019）；“MASKULINITATEN”，波恩艺术协会，伯恩，德国（2019）；“以梦为路”，宝龙美术馆，上海 （2019）；“City Prince/sess”，东京宫，巴黎，法国（2019）;“Paint，also known as Blood: Women, Affect and Desire in Contemporary Painting”，现代艺术美术馆，华沙，波兰（2019）；“The Lulennial II: A Low-Hanging Fruit”，墨西哥城，墨西哥（2018）；“Nightfall”，Mendes Wood，布鲁塞尔，比利时（2018）；“Nothing Will Be As Before”，Tanya Leighton，柏林，德国（2018）；“The Rest”，里森画廊，纽约，美国（2018）；“Splendor Solis”，The Approach，伦敦，英国（2018）；“All Day Breakfast”，雷丁国际，雷丁，英国（2017）；“I go, you go, good to go”，Unclebrother，纽约，美国（2017）; “Sputterances”，Metro Pictures，纽约，美国（2017）；“Teenscape”，SCHLOSS，奥斯陆，挪威（2017）；“That Continuous Thing: Artists and the Ceramics Studio, 1920–Today”，泰特街，伊福思街，英国（2017）等。

Allison Katz (b. 1980, Montreal) currently lives and works in London. She received her BFA from the Concordia University in 2002 and her MFA from the Columbia University in 2008.

Allison Katz’s work engages with the complex and at times contradictory nature of contemporary artistic production, embracing the ambiguity of communication with a playful and inquiring touch that expands the conventional notion of an artist’s “signature style.” Katz’s work operates in a poetic space between mirror and mask, between revealing and concealing what is presented, calling attention to the multiple layers of consciousness that reside in a painting’s surface and subject. 

Selected solo exhibitions: Artery, Camden Art Center, London, UK (2022); Nottingham Contemporary, Nottingham, UK (2021); Monograph & Graphics, Gio Marconi, Milan, Italy (2020); Traforati 2019, Torre Bonomo, Spoleto, Italy (2019); Diary w/o Dates, Oakville Galleries, Oakville, Canada (2018); MIT List Center for the Arts, Cambridge, UK (2018); fig-futures 1/16, Grundy Art Gallery, Blackpool, UK (2018); Muse with a Short Fuse, Antenna Space, Shanghai, China (2018); Period, Gio Marconi, Milan, Italy (2018); Poster, Billedrommet, Tønsberg, Norway (2017); AKA, Gió Marconi, Milan, Italy (2016); We boil at different degrees, The Approach, London, UK (2016); All Is On, Kunstverein Freiburg, Freiburg, Germany (2015).

Selected group exhibitions: The 59th Venice Biennale: The Milk of Dreams, Giardini della Biennale, Venice, Italy (2022); Mixing It Up: Painting Today, Hayward Gallery, London, UK (2021);  House of Perception, Antenna Space, Shanghai, China (2021); The Imaginary Sea, Fondation Carmignac, Porquerolles, France (2021); Plus One, Luhring Augustine, New York, USA (2021); Palama, MANIFESTA 13, Marseille, France (2020); This Corrosion, Modern Art London, London, UK (2020); Slow Painting, organized by Hayward Touring, presented at Leeds Art Gallery and The Levinsky Gallery and among others, UK (2019-2020); Artists I Steal From, Galerie Thaddaeus Ropac, London, UK (2019); MASKULINITATEN, Bonner Kunstverein, Bonn, Germany (2019); One if By Land, Powerlong Museum, Shanghai, China (2019); City Prince/sess, Palais de Tokyo, Paris, France (2019); Paint, also known as Blood: Women, Affect and Desire in Contemporary Painting, Museum of Modern Art in Warsaw, Warsaw, Poland (2019); The Lulennial II: A Low-Hanging Fruit, Mexico City, Mexico (2018); Nightfall, Mendes Wood, Brussels, Belgium (2018); Nothing Will Be As Before, Tanya Leighton, Berlin, Germany (2018); The Rest, Lisson Gallery, New York, US (2018); Splendor Solis, The Approach, London, UK (2018); All Day Breakfast, Reading International at Munchees, Reading, UK (2017); I go, you go, good to go, Unclebrother, New York, US (2017); Sputterances, Metro Pictures, New York, US (2017); Teenscape, Schloss, Oslo, Norway (2017); That Continuous Thing: Artists and the Ceramics Studio, 1920–Today, Tate St. Ives, St. Ives, UK (2017) among others.

朵拉·布多（b.1984，克罗地亚，萨格勒布市）现生活和工作于纽约。

她的近期个展展出于Progetto，莱切，意大利（2021）；巴塞尔美术馆，瑞士（2019）；80WSE，纽约（2018）；瑞士学院，纽约（2015）。她的作品也曾展出于众多群展，包括：米格罗博物馆，苏黎世（2021）；Schinkel Pavillon，柏林（2021）；温特图尔艺术博物馆，瑞士（2021）；华沙现代艺术博物馆，波兰（2020）；MO.CO. Panacée，蒙皮利埃，法国（2020，2018）；纽伦堡艺术协会，德国（2019）；帕斯卡特艺术中心，瑞士（2018）；路易斯安那现代艺术博物馆，丹麦（2017）；东京宫，巴黎（2017）；K11美术馆，上海（2017）；贝尔格莱德当代艺术博物馆，塞尔维亚（2017）；惠特尼美国艺术博物馆，纽约（2016）；瑞士学院，纽约（2016）；弗里德利希阿鲁门博物馆，卡塞尔（2015）；Halle für Kunst und Medien，格拉茨（2015）等。她还参加了第59届威尼斯双年展：梦想之乳（2022）；第58届贝尔格莱德双年展：十月沙龙（2021）；第2届里加当代艺术国际双年展（2020）；日内瓦雕塑双年展（2020）；第16届伊斯坦布尔双年展（2019）；第13届波罗的三年展（2018）；维也纳双年展（2017）；艺聚空间（2017）；第9届柏林双年展（2016）。

布多曾获得2014年的雷玛·霍特·曼基金会（Rema Hort Mann Foundation）新锐艺术家奖和2018年的波洛克·克拉斯纳基金会艺术资助。2019年，她获得了久负盛名的古根海姆创意艺术奖学金。2022年，她的个展即将于布雷根茨美术馆（奥地利）和贝加莫现当代艺术馆GAMeC（意大利）开展。

Dora Budor (b. 1984, Zagreb, Croatia) is a New York based artist and writer. 

Her recent solo exhibitions include Progetto, Lecce, Italy (2021), Kunsthalle Basel, Switzerland (2019), 80WSE, New York (2018), Swiss Institute, New York (2015). Her work has been presented in numerous group exhibitions, including Palazzo delle Esposizioni, Rome (2021); Migros Museum, Zürich (2021); Schinkel Pavillon, Berlin (2021); Kunstmuseum Winterthur (2021); MoMA Warsaw (2020); MO.CO Panacée, Montpellier (2020; 2018); Kunstverein Nuernberg (2019), Kunsthaus Pasquart, Biel (2018); Louisiana Museum of Modern Art, Denmark (2017); Palais de Tokyo, Paris (2017); K11 Art Museum, Shanghai (2017); MOCA Belgrade (2017); Whitney Museum of American Art, New York (2016); Swiss Institute, New York (2016); Museum Fridericianum, Kassel (2015), Halle für Kunst und Medien, Graz (2015). She participated in 59th Venice Biennale: The Milk of Dreams (2022); 58th October Salon, Belgrade Biennale (2021); 2nd Riga International Biennial of Contemporary Art (2020); Geneva Sculpture Biennale (2020); 16th Istanbul Biennial (2019); 13th Baltic Triennial (2018); Vienna Biennale (2017); Art Encounters (2017) and 9th Berlin Biennial (2016).

Budor was a recipient of the Rema Hort Mann Foundation’s Emerging Artist Prize in 2014 and Pollock Krasner Foundation Grant in 2018. In 2019, she was awarded Guggenheim Fellowship in Fine Arts. Her upcoming solo exhibitions will be presented by Kunsthaus Bregenz (Austria), and Gallery of Modern and Contemporary Art (GAMeC), Bergamo (Italy) in 2022.

李美来（b. 1988，首尔）现生活和工作于首尔和阿姆斯特丹。她于2012年在首尔大学美术学院雕塑系获得学士学位，并于次年获得媒体艺术硕士学位。

李美来的雕塑取材于她和既有作品之间的互动，材质通常是钢铁、硅胶和黏土等，并采用了低科技的动力装置和机械玩偶制造技术。李美来认为她对雕塑情感的深切投入很容易让自己陷入心动、迷恋、窥伺、侵犯或暴力之中。因此，她的艺术实践总是围绕这一种虐恋式的关系，探索爱恨之间情感张力胶着的地带。

2018年，李美来参加了荷兰皇家艺术学院（Rijksakademie）的驻留项目。她于近期入围2021年度“未来世代艺术奖”。

近期个展及双个展：“HR Giger & Mire Lee”，Schinkel Pavillon，柏林，德国（2021）；“Mire Lee”，皮特凯恩当代艺术博物馆，格罗宁根，荷兰（2021）；“Words Were Never Enough”，Lily Robert，巴黎，法国（2020）；“带原者”，善才艺术中心，首尔，韩国（2020）；“Het is of de stenen spreken (silence is a commons)”，卡斯柯艺术学院，乌特勒支，荷兰（2019）；“War is Won by Sentiment Not by Soldiers”，Insa Art Space，首尔，韩国（2014）等。

部分群展：“第59届威尼斯双年展：梦想之乳”，双年展花园Giardini展区，威尼斯，意大利（2022）；“未来世代艺术奖2021”，平丘克艺术中心 ，基辅，乌克兰（2021）；“Techno”，Museion, Museo d’arte Moderna E Contemporanea，博尔扎诺，意大利（2021）；“污染”，弗莱堡艺术协会，弗莱堡，德国（2021年）；“切肤之息Breathing through skin”，天线空间，上海（2020年）；“(Im)Possible Bodies”，Niet Normaal Foundation，登博斯，荷兰（2020）；“As time went on, a rumor started”，Gianni Manhattan，维也纳，奥地利（2020）；“Other. Worldly”，Friesmuseum，吕伐登，荷兰（2020）；“In Between Uneven Stairs”，Tunnel Tunnel，洛桑，瑞士（2019）；“第15届里昂当代艺术双年展：水流与其他水流交汇之处”，里昂，法国（2019）；“表面张力”，沙迦艺术基金会，沙迦，阿联酋（2019）；“Lubricated Language”，AKINCI，阿姆斯特丹，荷兰（2019）；“第12届光州双年展：想象边界”，光州，韩国（2018）；“双重否定”，Arko Arts Center，首尔，韩国（2018年）；“移动/图像”，Arko Art Center，首尔，韩国（2017）；“NERIRI KIRURU HARARA”，首尔市立美术馆，首尔，韩国（2016）等。

Mire Lee (b. 1988, Seoul) currently lives and works in Seoul and Amsterdam. She received both her BFA in Sculpture in 2012 and her MFA in Media Art in 2013 from the Seoul National University College.

Originating in the interaction between the Mire Lee and her created bodies of work, the sculptures of whom are formed from materials such as steel, silicone, and clay, and function with low-tech kinetics and animatronic-like technology. Lee testifies that her affective sculptural dedication can easily slip into fondness, fetishistic obsession, voyeurism, violation, or violence. Thus, her practice revolves around an abusive, almost masochist, relationship in which Lee explores the tense, uncertain zone between love and hate.

In 2018, Mire Lee participated in the residency program at Rijksakademie van beeldende kunsten in Netherlands. She has recently been shortlisted for the Future Generation Art Prize 2021.

Selected solo & dual exhibitions: HR Giger & Mire Lee, Schinkel Pavillon, Berlin, Germany (2021); Mire Lee, The Pitcairn Museum of Contemporary Art, Groningen, Netherlands (2021); Carriers, Art Sonje Center, Seoul, South Korea (2020); Words Were Never Enough, Lily Robert, Paris, France (2020); Het is of de stenen spreken (silence is a commons), Casco Art Institute, Utrecht, Netherlands (2019); War is Won by Sentiment Not by Soldiers, Insa Art Space, Seoul, South Korea (2014) etc.

Selected group exhibitions: The 59th Venice Biennale: The Milk of Dreams, Giardini della Biennale, Venice, Italy (2022); Future Generation Art Prize 2021, Pinchuk Art Centre, Kiev, Ukraine (2021); Techno, Museion, Museo d’arte Moderna E Contemporanea, Bolzano, Italy (2021); Contamination, Kunstverein Freiburg, Freiburg, Germany (2021); Breathing through Skin, Antenna Space, Shanghai, China (2020); (Im)Possible Bodies, Niet Normaal Foundation, Den Bosch, Netherlands (2020); As time went on, a rumor started, Gianni Manhattan, Vienna, Austria (2020); Other. Worldly, Friesmuseum, Leeuwarden, Netherlands (2020); In Between Uneven Stairs, Tunnel Tunnel, Lausanne, Switzerland (2019); The 15th Biennale de Lyon: Where Water Comes Together With Other Water, Lyon, France (2019); Surface Tension, Sharjah Art Foundation, Sharjah, UAE (2019); Lubricated Language, AKINCI, Amsterdam, Netherlands (2019); The 12th Gwangju Biennale: Imagined Border, Gwangju, South Korea (2018); Double Negative, Arko Arts Center, Seoul, South Korea (2018); Moving/Image, Arko Art Center, Seoul, South Korea (2017); SeMA Biennial Mediacity Seoul: NERIRI KIRURU HARARA, Seoul Museum of Arts, Seoul, South Korea (2016) etc.

曾吴（b. 1982，伍斯特），目前生活和工作于洛杉矶。她于2004年在芝加哥艺术学院获得艺术学士学位，后于2010年在加州大学洛杉矶分校获得艺术硕士学位。

曾吴是一名电影人和表演艺术家，她的作品结合纪录片和叙事片的技巧，引入奇幻色彩的图像，探索隐藏的历史、被边缘化的叙事和表演作为行为本身的意义。曾吴重新想象了在主流框架之外的种族性别的表达，包容了我们体验社会现实的多样且变化着的视角。她的影像作品包括《We hold where study》（2017年），《Girl Talk》（2015年），《Damelo Todo (Gimme Everything）》(2010年），以及《Shape of a Right Statement》（2008年）等。曾吴的作品曾经在柏林的Gropius Bau、美国现代艺术博物馆、伦敦泰特美术馆、明斯特美术馆、阿姆斯特丹市立美术馆、美国惠特尼美术馆、纽约古根海姆美术馆、芝加哥当代艺术美术馆等机构展出。

近期个展、表演与电影展映：“Wu Tsang: Anthem”，古根海姆美术馆，纽约，美国（2021）；“Visionary Company”，老佛爷百货基金会艺术中心，巴黎，法国（2020）；“There is no nonviolent way to look at somebody”，马丁葛罗皮亚斯展览馆，柏林，德国（2019）；“An Atmosphere of Messages”，Cabinet Gallery，伦敦，英国（2019）；“Diversity is Reality”，哥本哈根当代艺术中心，哥本哈根，丹麦（2019）；“Under Cinema”，FACT，利物浦，英国（2017）；“琉璃尤韧”，天线空间，上海（2017年）；“Devotional Document（第一部分）”，诺丁汉当代艺术中心，诺丁汉，英国（2017）；“Devotional Document（第二部分）”，明斯特艺术馆，明斯特，德国（2017）；“The Luscious Land of God is Sinking”，356 Mission Road，洛杉矶，美国（2016）；“A day in the life of bliss”，Julia Stoschek藏品，杜塞尔多夫，德国（2015）；“Wu Tsang Ft. Boychild: Untouchable”，阿姆斯特丹市立博物馆，阿姆斯特丹，荷兰（2014）；“Wu Tsang: Wildness”，泰特现代美术馆，伦敦，英国（2013）；“Wu Tsang”，惠特尼双年展2012，惠特尼美术馆，纽约，美国（2012）等。

部分群展：“第59届威尼斯双年展：梦想之乳”，双年展花园Giardini展区，威尼斯，意大利（2022）；“历史·当代”，台北当代艺术馆，台北（2021）；“1,2,3,4: Dance in Contemporary Artists' Films”，The Glucksman,  科克，爱尔兰（2020）；新加坡双年展，新加坡美术馆，新加坡（2019）；“You: Works from the Lafayette Anticipations Collection”，巴黎现代艺术博物馆，巴黎，法国（2019）；“Luogo e Segni”，海关大楼博物馆，威尼斯，意大利（2019）；“Leaving the Echo Chamber”，第十四届沙迦双年展，沙迦，阿联酋（2019）；“Producing Futures - An Exhibition on Post-Cyber-Feminismus”，米格洛斯当代艺术博物馆，苏黎世，瑞士（2019）；“Strange Days: Memories of the Future”，The Strand（与纽约新当代艺术博物馆共同呈现），伦敦，英国（2018）；“群展：Dora García，Sharon Hayes，Emily Jacir，Mahmoud Khaled，Carlos Motta，曾吴和 Akram Zaatari 以及 Quinn Latimer的一首诗”，维特·德维茨当代艺术中心，鹿特丹，荷兰（2018）；“Trigger: Gender as a weapon and a tool”，新当代艺术博物馆，纽约，美国（2017）；动态影像双年展，日内瓦当代艺术中心，日内瓦，瑞士（2017）等。

Wu Tsang (b. 1982, Worcester) currently lives and works in Los Angeles. Tsang received a BFA from the School of the Art Institute of Chicago in 2004 and an MFA from the University of California at Los Angeles in 2010. 

Tsang is a filmmaker and performance artist who combines documentary and narrative techniques with fantastical detours into the imaginary in works that explore hidden histories, marginalized narratives, and the act of performing itself. Tsang re-imagines racialized, gendered representations beyond the visible frame to encompass the multiple and shifting perspectives through which we experience the social realm. Her films include We hold where study (2017), Girl Talk (2015), Damelo Todo (Gimme Everything) (2010), and Shape of a Right Statement (2008) among others. Her works have been featured in Gropius Bau, Berlin; MoMA, New York; Tate Modern, London; Whitney Museum of American Art, New York; Kunsthalle Münster, Münster in Westfalen, Germany; Solomon R. Guggenheim Museum, New York; Museum of Contemporary Art Chicago, Chicago; Stedelijk Museum, Amsterdam among others.

Selected solo exhibitions, performance and film screenings: Wu Tsang: Anthem, Solomon R. Guggenheim Museum, New York, US (2021); Visionary Company, Lafayette Anticipations, Paris, France (2020); There is no nonviolent way to look at somebody, Gropius Bau, Berlin, Germany (2019); An Atmosphere of Messages, Cabinet Gallery, London, UK (2019); Diversity is Reality, Copenhagen Contemporary, Copenhagen, Denmark (2019); Under Cinema, FACT, Liverpool, UK (2017); Sustained Glass, Antenna Space, Shanghai, China (2017); Devotional Document (Part 1), Nottingham Contemporary, Nottingham, UK (2017); Devotional Document (Part 2), Kunsthalle Münster, Münster in Westfalen, Germany (2017); The Luscious Land of God is Sinking, 356 Mission Road, Los Angeles, US (2016); A day in the life of bliss, Julia Stoschek Collection, Düesseldorf, Germany (2015); Wu Tsang Ft. Boychild: Untouchable, Stedelijk Museum, Amsterdam, Netherlands (2014); Whitney Biennial 2012: Wu Tsang, Whitney Museum of American Art, New York, US (2012) among others.  

Selected group exhibitions: The 59th Venice Biennale: The Milk of Dreams, Giardini della Biennale, Venice, Italy (2022); Chrono-Contemporary, MOCA Taipei, Taipei (2021); 1,2,3,4: Dance in Contemporary Artists' Films, The Glucksman, University College Cork, Cork, Ireland (2020); Singapore Biennale 2019: Every Step In The Right Direction, Singapore Art Museum, Singapore (2019); You: Works from the Lafayette Anticipations Collection, City of Paris Museum of Modern Art, Paris, France (2019); Luogo e Segni, Punta della Dogana, Venice, Italy (2019); Sharjah Biennial 14: Leaving the Echo Chamber, Sharjah, UAE (2019); Producing Futures - An Exhibition on Post-Cyber-Feminismus, Migros Museum, Zurich, Switzerland (2019); Strange Days: Memories of the Future (in association with the New Museum, NY), The Strand, London, UK (2018); A group exhibition with work by Dora García, Sharon Hayes, Emily Jacir, Mahmoud Khaled, Carlos Motta, Wu Tsang and Akram Zaatari, as well as a letter by Quinn Latimer, Witte de With Center for Contemporary Art, Rotterdam, Netherlands (2018); Trigger: Gender as a weapon and a tool, New Museum, New York, US (2017); Biennale of Moving Images, Centre d'Art Contemporain Genève, Genève, Switzerland (2017) among others.