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户尔柏林 | 詹金·范·齐尔个展「逝步之宫」 | 正在展出

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#柏林 #詹金·范·齐尔

户尔柏林 | 詹金·范·齐尔个展「逝步之宫」 | 正在展出崇真艺客

逝步之宫

Palace of

Wasted Footsteps

艺术家 Artist

詹金·范·齐尔

Jenkin van Zyl

展期 Duration

26.4 - 15.6.2024

地址 Address

户尔空间·柏林
波茨坦大街81b麦卡托庭院内
Hua International Potsdamer Str. 81b, 10785 Berlin

户尔柏林 | 詹金·范·齐尔个展「逝步之宫」 | 正在展出崇真艺客

「逝步之宫」是詹金·范·齐尔与户尔空间合作的首次个展，标志着他在其电影《投降（Surrender）》中构建的世界的下一篇章。灵感来自于上世纪30年代经济大萧条时期独特的舞蹈马拉松比赛，电影中，一位老鼠面孔名为 GRACE 的访客来到了天堂工程耐力合作伙伴（P.E.E.P.）酒店，酒店的灵感来源于日本情趣酒店的短暂体验，一种可以按小时预订的幻想空间，入住后，GRACE 在酒店舞厅参加一系列越来越奇怪的比赛，探索身体的局限与延伸。

舞蹈马拉松被称为 "死亡之舞"、"无辜的监狱 "或 "梦游者之舞"，而此次展览的标题正式来自于舞蹈马拉松的另一个意味深长的别称， "逝步之宫"。在这组新的雕塑作品中，范·齐尔继续从这些马拉松赛事中汲取灵感，在一个痴迷于公众耐力理念的美国，参赛者被逼到极限，连续数天跳舞，以换取食物、住所和可能的奖品。参赛者被指定为舞伴，他们必须遵守严格的规则，而这些规则往往会导致一些奇怪的变通办法：在舞池中铺设床铺，得以让参赛者在短时间内休息，以及在继续跳舞的同时完成吃饭和洗澡等基本任务。如果一对情侣中的任意一半未能遵守严格的比赛规则而停止，两位选手都将面临淘汰。《投降（Surrender）》与此次展览中的新作将 "老鼠竞赛 "与自然界中 "老鼠王 "的概念相联系。"老鼠王 "是一种罕见的自然现象，当多只老鼠为了取暖而将尾巴融合在一起时，就会出现这种现象。

In Palace of Wasted Footsteps, Jenkin van Zyl returns to the world-building of his recent film project and installation, Surrender. Drawing inspiration from the dance marathons of the 1930s Great Depression, Surrender follows the experience of GRACE, a rat-faced visitor to the Paradise Engineering Endurance Partnership (P.E.E.P.) Hotel. Inspired by the transient nature of Japanese love hotels - short-stay fantastical spaces that can be booked by the hour - GRACE checks in and begins to compete in a series of increasingly strange tournaments in the hotel ballroom that play with the limitations and expansiveness of the body.

Dance marathons were variously referred to as ‘The Dance of Death’, ‘The Innocent Jail’ or ‘Dance the Sleepwalkers’, and in an evocative allusion employed here, a ‘Palace of Wasted Footsteps.’ In this new constellation of sculptural works, van Zyl continues to draw from these marathons, where in an America obsessed with the idea of public endurance, contestants were pushed to their limits, dancing continuously for days in exchange for food, shelter and the possibility of a prize. Assigned partners, participants had to follow strict rules that often led to often bizarre workarounds: beds on the dance floor where contestants could rest for intensely short periods of time, as well as the completion of basic tasks, such as eating and bathing, whilst continuing to dance. If one half of a couple failed to adhere to strict competition rules and stopped moving, both contestants would face elimination. Surrender, and the new works here, conflate this ‘rat race’ with the ‘rat king’, a rare natural phenomenon that occurs when the tails of multiple rats fuse together in the process of trying to stay warm.

户尔柏林 | 詹金·范·齐尔个展「逝步之宫」 | 正在展出崇真艺客

詹金·范·齐尔 Jenkin van Zyl

每个人都喜欢胜者（无限增长）Everybody Loves a Winner (Limitless Growth)ii, 2024

布面油画树脂，城堡漆，胶合板，无限增长能量饮料罐

Resin, Citadel Paint, plywood, Limitless Growth energy drink cans

尺寸可变 variable dimensions????????

户尔柏林 | 詹金·范·齐尔个展「逝步之宫」 | 正在展出崇真艺客

詹金·范·齐尔 Jenkin van Zyl

每个人都喜欢胜者（无限增长）Everybody Loves a Winner (Limitless Growth)v, 2024

布面油画树脂，城堡漆，胶合板，无限增长能量饮料罐

Resin, Citadel Paint, plywood, Limitless Growth energy drink cans

尺寸可变 variable dimensions

户尔柏林 | 詹金·范·齐尔个展「逝步之宫」 | 正在展出崇真艺客

詹金·范·齐尔 Jenkin van Zyl

每个人都喜欢胜者（无限增长）Everybody Loves a Winner (Limitless Growth)iv, 2024

布面油画树脂，城堡漆，胶合板，无限增长能量饮料罐

Resin, Citadel Paint, plywood, Limitless Growth energy drink cans

尺寸可变 variable dimensions

一系列构思取材于多彩的祭坛、放大的战锤雕像或盗版商品之间的相互竞争的二重身雕塑，让我们置身于一场马拉松中。每对情侣都在一种奇特的优雅和绝望中翩翩起舞，在原作与复制品、自我与他人之间的障碍崩溃的压力点上徘徊。他们的身体被展示得超越了疲劳，枕在彼此身上，或者扭曲成角斗士般的展示和专业技艺的姿势。这些同台对手究竟是出于一种无法满足的渴望而竞争，还是出于对逃避、共同体、遗忘或纯粹胜利的渴望，尚不清楚。尽管存在这些疑虑，这些形象都被支撑在"无限增长 "的山形基座上；那是一种神秘的能量饮料，为这些参赛者提供动力，将他们不断推向前进。

与此同时，在“每个人都喜欢胜者（一半的GRACE）”中，一樽笑脸奖杯在锁着的门上嘲弄着胜利，周围点缀着一系列公寓门铃（P.E.E.P. buzzer vi-xii）。这些门铃参考了情趣酒店的房间选择器，这些门铃装置以恶作剧般矛盾的组合戏弄着一个关乎新出路的承诺，所谓修正的机会、重新做一遍的机会，即使所谓的机会不过是暂时地消失。

A series of sculptures of competing doppelg?ngers - conceived between polychromed votive sculpture, an upscaled Warhammer figurine or bootlegged merchandising - anchor us in a marathon. Each couple dances in a state of strange grace and despair, pivoting on the pressure point at which barriers between the original and the copy, between self and other, collapse. Their bodies are shown curlicued beyond fatigue, draped over one another in dying embraces or contorted in gladiatorial display and professional finesse. It’s unclear whether these doppelg?ngers compete out of an insatiable yearning; or from their desire for escapism, community, oblivion, or plain victory in a marathon. Disregarding these concerns, the figures are propped up by mountainous plinths of Limitless Growth; a mysterious energy drink that fuels these contestants and propels them ever-forward.

Meanwhile, in Everybody Loves a Winner (ONE-HALF-OF-GRACE), a grinning trophy teases victory from behind a locked door and a series of apartment buzzers, P.E.E.P. buzzer vi-xii, punctuate the space. Referencing room selectors found in love hotels, these buzzers tease the promise of a new doorway—the chance to revise, the chance to redo - to disappear, if only briefly— and take on mischievous and contradictory combinations.

詹金·范·齐尔 Jenkin van Zyl

每个人都喜欢胜者（一半的GRACE）Everybody Loves a Winner (ONE-HALF-OF-GRACE), 2024

布面油画树脂，城堡漆，胶合板，无限增长能量饮料罐

Resin, Citadel Paint, plywood, Limitless Growth energy drink cans

尺寸可变 variable dimensions

詹金·范·齐尔 Jenkin van Zyl

天堂工程耐力合作伙伴门铃 P.E.E.P. Buzzer, 2023

公寓门铃 Apartment buzzer

ABOUT

the Artist

关于艺术家

户尔柏林 | 詹金·范·齐尔个展「逝步之宫」 | 正在展出崇真艺客

詹金·范·齐尔

Jenkin van Zyl

1993 年出生在英国｜现工作生活于英国伦敦

(b. 1993, UK) lives and works in London

詹金·范·齐尔是一位多领域艺术家，常驻伦敦，制作幻觉叙事装置，通常以电影为中心。最初的项目是在好莱坞电影场景的废墟上进行游击电影制作，范·齐尔的项目围绕着奇幻的反文化社区展开：食尸鬼在飞机上制作蛋糕、乳胶充气娃娃在沙漠堡垒中被熏晕、老鼠参加舞蹈马拉松比赛。

这些作品以一种异教式的不敬态度呈现，关注幻想的力量与政治，他的电影呈现了对废弃但宏伟的新自由主义景观的狂欢式探索。通过这种世界创造，范·齐尔发起了一个短暂空间的地下反叛：酒店、机场、沙漠、赌场、舞台、片场。台前和幕后、自我和他者、欲望和反感的二元对立被不稳定性、熵和多重性所替代，在这里，角色们在创造和破坏间循环往复，试图摆脱个体身份的暴政，走向对崩溃的共同庆祝。除了屏幕之外，这些世界还有一种物质遗产，作为雕塑化的逃避者，通常在重新配置的材料如气动管系统、无限镜和机身中展示。

詹金·范·齐尔于2021年获得伦敦皇家艺术学院的研究生文凭，并获得金奖。他的作品曾在《Frieze》、《ArtForum》、《卫报》、《Spike》、《Vogue》、《白色评论》、《i-D》、《艺术月刊》等媒体上受到关注，并最近被《Time Out》评为伦敦最优秀的年轻艺术家之一。

范·齐尔最新的个展包括： "投降"，利物浦 FACT 和伦敦 Edel Assanti 画廊；"爱的机器"，格拉斯哥 Tramway；"狩猎"，伦敦 Rose Easton；"机舱压力"，伦敦 Amanda Wilkinson；"遗忘工业"，伦敦 The Horse Hospital。部分群展包括： "Barbe à Papa"、波尔多 CAPC； "Transmediale"，柏林 Kunstraum Kreuzberg；"Kiss my Genders"，伦敦 Hayward 画廊； "The Horror Show!"，伦敦 Somerset House。

Jenkin van Zyl is a multi-disciplinary artist based in London who makes hallucinatory, narrative installations, typically centred on film. With initial projects ignited by guerilla filmmaking on the ruins of Hollywood movie sets, van Zyl’s projects orbit around fantastical countercultural communities: ghouls breeding cakes in aircrafts, latex inflatables hazed in a desert fortress, and rats competing in dance marathons.

Conjured with a queer irreverence, one that is attentive to the power and politics of fantasy, his films perform carnivalesque explorations of abandoned yet grandiose neoliberal landscapes. Through this world-making van Zyl initiate an underworld revolt of transient spaces: the hotel, the airport, the desert, the casino, the stage, the set. Binaries of front and back-stage, self and other, desire and revulsion are displaced by instability, entropy and multiplicity, and here characters cycle through patterns of creative and destructive phenomena, in attempts to move away from the tyranny of individual identity towards a communal celebration of collapse. Beyond the screen these worlds have a material legacy as sculptural escapees, and are often shown within cinemas built from reconfigured materials such as pneumatic tube systems, infinity mirrors and fuselage.

Jenkin van Zyl received a postgraduate diploma from the Royal Academy, London in 2021 and was the recipient of the Gold Medal Prize. His work has been profiled in Frieze, ArtForum, The Guardian, Spike art, Vogue, The White Review, i-D magazine, Art Monthly and was recently named as one of London’s best young artists by Time Out.

Van Zyl’s recent presentations include solo presentations Surrender, FACT, Liverpool, and Edel Assanti, London; Machines of Love, Tramway, Glasgow; Vore, Rose Easton, London; Cabin Pressure, Amanda Wilkinson Gallery, London; Oblivion Industry, The Horse Hospital, London and selected group presentations at Barbe à Papa, CAPC, Bordeaux; Transmediale, Kunstraum Kreuzberg, Berlin; Kiss my Genders, Hayward Gallery, London and The Horror Show!, Somerset House, London.

关于户尔空间

About Hua International

户尔空间（Hua International）是一家位于柏林与北京两地的当代艺术画廊，展览、出版和公共项目致力于跨学科及行为表演的艺术实践。画廊专注于发展与艺术家长期动态的合作关系，以其地理上的两地性为依托，扩展艺术家及其作品在迥异文化背景下的展览和接受。

以 XC.Hua 为名，经历了两年实验艺术策展项目运营积累后，花笑婵于2020年8月正式更名成立了户尔空间（Hua International），并在北京798艺术区、柏林历史悠久的当代艺术中心之一麦卡托庭院分别设立空间。在常驻两地空间之外，户尔空间也在国际知名的艺术博览会展示其艺术家作品。

Hua International is a contemporary art gallery located in Berlin and Beijing whose exhibitions, publications, and public programming supports cross-disciplinary and performative artistic practices. The gallery focuses on developing long-term relationships with its represented artists and leverages its geographic bilocation as a means to critically expand how their work can be presented and received in radically diverse cultural contexts.

After two years curating the experimental art and performance project XC.Hua, Xioachan Hua founded Hua International in August 2020 and inaugurated the new gallery with spaces in Berlin’s historic Mercator H?fe and Beijing’s acclaimed 798 Arts District.