现场 | Allison Katz艾莉森·卡茨个展“Artery”@Camden Art Centre

艾莉森·卡茨个展“Artery”于2022年1月14日在英国伦敦Camden Art Centre开幕，展览至2022年3月13日结束。

Allison Katz's solo exhibition Artery has opened at Camden Art Centre, London since January 14th, 2022 and will last until March 13th, 2022.

”Artery“展览现场，图片由Camden Art Centre提供。摄影：Rob Harris

“Artery”（动脉）是艾莉森·卡茨在伦敦的首次机构级个展。展览包括20多幅画作，大部分在过去的18个月里完成，同时还有一组新的海报。展出的作品探索了卡茨与身份、表达、自我和话语权等问题的长期关系——过去十多年中她的作品一直处理着这些主题。

卡茨关注独特而古怪的事物，也关注个人神话和具体经验，她将自己的生平作为原始材料，并从梦中的物体、艺术史参照和日常生活的纹理中汲取灵感。她的展览通过一系列传记轶事和共时性的时刻展开，将世界向隐喻、双关、语义滑动和文字游戏敞开。

在卡茨的作品中，观众不得不去寻找迥异主题间的连接线；联想和对话必须被加以想象和阐述，以完成连接的回路。艺术家试图赋予这个世界以形式——在这个世界中，偶发性让人在生活那显而易见的混乱中获得诗意的秩序；在这个世界中，人的主观性和经验与世界的普遍性产生碰撞，以作为一道进入不可见之域的路径。一幅绘有电梯的画被安装在大楼内真的电梯的另一侧，这是通向隐蔽空间的错视孔隙（trompe-l’oeil aperture）；一幅公鸡过马路的画直白地跨越了两面独立的墙；一群张开的嘴向外“凝视”，这也许是从语言或胆识（gut）的角度对绘画进行暗示。而一系列卷心菜的静物 “肖像”——自2013年以来一直进行着的系列——在这里第一次成组予以展示，它们的 “头”、”心脏 “和 “动脉 “类同于那处在暗处而缺席的被画者的特征。

另外，卡茨通过她的自画像（无论是字面意义上还是形而上学意义上的自画像）对艺术家“标志”（signature）的触感玩味重估。她自己名字变化多端的组合贯穿作品——作为一个口号（”All ls On”），一个别名（”AKA”），一个 “伪装”（Allison Sarah Katz女士）；触感（和对触感的禁止）经由作品中涂敷的纹理——如沙、米和包括铜、碎钢等荧光颜料——被进一步加强。对卡茨来说，表面即是深度。中央空间的海报宣告了展览和其持续时间，将展览以时间的整体呈现，有如另一种物体或事件。海报的创作也是她艺术实践中重要且长期持续的部分。对卡茨来说，创作艺术就是去成为动脉。展览标题指涉的正是身体内部经由心脏循环流通的动脉；同时也意指道路、河流、交通系统与更为宽泛的的沟通、意义、联系网络，以及我们内在的驱力和心智。展览设计本身的架构和编排也是作品的组成部分。排演的相遇、定制的墙体、内室、远景：所有这些都是卡茨在截然相异的作品中建立的体验和意义的中心。

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艾莉森·卡茨 Allison Katz

Akgraph (Tobias + Angel), 2021

布面油画

Oil on linen

艾莉森·卡茨 Allison Katz

The Cockfather, 2021

布面油画、丙烯、米

Oil, acrylic and rice on linen

艾莉森·卡茨 Allison Katz

The Other Side, 2021

布面油画、米

Oil and rice on canvas

艾莉森·卡茨 Allison Katz

Someone else’s dream, 2021

布面油画、丙烯、沙

Oil, acrylic and sand on linen

艾莉森·卡茨 Allison Katz

Posterchild, 2021

布面油画与丙烯

Oil, acrylic on linen

艾莉森·卡茨 Allison Katz

Blondie, 2013 - 2021

布面油画和丙烯、布面丙烯 (两部分)

Oil, acrylic on canvas and acrylic on linen (2 parts)

艾莉森·卡茨 Allison Katz

CCTV, 2020

布面油画

Oil on canvas

艾莉森·卡茨 Allison Katz

To Be Continued Unnoticed, 2019

手工雕刻上釉瓷器

Hand carved and glazed ceramic

艾莉森·卡茨 Allison Katz

Reflexivity, 2019

手工雕刻上釉瓷器

Hand carved and glazed ceramic

艾莉森·卡茨 Allison Katz

Inhibition, 2015

布面油画

Oil on linen

*图片致谢艺术家、Luhring Augustine和天线空间

*Courtesy the artist, Luhring Augustine and Antenna Space

Artery is the first institutional solo exhibition in London by Allison Katz (b. 1980 Montreal, Canada). Comprising over 20 paintings, most made over the last 18 months, as well as hand-painted ceramics and a new group of posters, it explores Katz’s long-standing relationship to questions of identity and expression, selfhood and voice; themes she has addressed in her work for more than a decade.

Attending to the idiosyncratic and eccentric, to personal mythologies and embodied experience, Katz treats her own biography as source material, as well as drawing from dream objects, art historical references, and the texture of everyday life. Her exhibition unfolds through a series of biographical anecdotes and moments of synchronicity, opening the world up to a game of allusions, double entendre, slips and wordplay.

In Katz’s work, the viewer is compelled to seek out connecting lines running through the apparently disparate subject matter; associations, and conversations that must be imagined and elaborated in order to complete the circuit. The world the artist seeks to give form to is one where chance gives access to poetic order inside life’s apparent chaos; where one’s own subjectivity and experience collides with the universality of the world, to be read as a route into that which cannot be seen. A painting of an elevator is installed on the other side of the building’s real lift-shaft, a trompe-l’oeil aperture into a hidden space; a painting of a cock crossing the road literally crosses two freestanding walls; a crowd of open mouths stare outwards, an allusion perhaps to painting from the position of language, or the gut; while a series of still- life ‘portraits’ of humble cabbages – an ongoing series since 2013 – are displayed as a group together here for the first time, their ‘head’ and ‘heart’ and ‘arteries’ analogous to the features of the shadowy, absent sitter.

Elsewhere Katz’s exploration of the artist’s ‘signature’ touch is playfully re-evaluated through self-portraits both literal and metaphysical. Shifting combinations of her own name are threaded throughout her work as a slogan (‘All ls On’), an alias (‘AKA’) and a ‘MASK’ (Ms. Allison Sarah Katz); and the sense of touch (and its prohibition) is heightened by her use of applied textures such as sand, rice, and iridescent pigments including copper and crushed steel. For Katz, surface is depth. The posters in the Central Space announce the exhibition and its duration, presenting it in its temporal totality as another kind of object or event. Posters are an important and long- standing part of the artist’s practice. For Katz, to make art is to become an artery. The title of the exhibition refers to the arteries of the body, which circulate through the heart, as well as alluding to roads, rivers, systems of transportation and more tangential networks of communication, meaning, and connection, as well as our inner drives and psyches. The architecture and choreography of the exhibition design itself is an integral part of her work. Staged encounters, bespoke walls, inner rooms and long views: all are central to the experience and meaning that Katz builds across the discrete and varied works in the show.

艾莉森·卡茨 Allison Katz

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.