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#柏林#詹金·范·齐尔
詹金·范·齐尔
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.
2024
逝步之宫
Palace of Wasted Footsteps「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.
每个人都喜欢胜者（无限增长）Everybody Loves a Winner (Limitless Growth)v, 2024Resin, Citadel Paint, plywood, Limitless Growth energy drink cans天堂工程耐力合作伙伴门铃 P.E.E.P. Buzzer, 2023
Palace of Wasted Footsteps
「投降」一片将 20 世纪的 "舞蹈马拉松 "与 "鼠王 "的隐世传说融为一体，前者是一种艰苦的耐力比赛，参赛者要连续数百小时不停地跳舞，后者则代表了一种精神错乱的风格。影片以一种关注角色扮演和幻想力量加之离经叛道的不敬态度，对被遗弃但又宏大的新自由主义景观进行了狂欢式的探索。二元对立被不稳定、叛逆与多重自我所取代。在银幕之外，主人公和他们的世界作为 "逃亡者"，以雕塑和物品的形式留下了物质遗产，这也是范·齐尔的典型创作风格。Characteristic of the artist's psychotropic style, the film Surrender melds the 20th-century phenomenon of dance marathons – grueling endurance competitions wherein couples participated in non-stop dancing for hundreds of hours – with the cryptid lore of the “rat king”. Conjured with a queer irreverence attentive to the power of role-play and fantasy, the film undertakes a carnivalesque exploration of abandoned yet grandiose neoliberal landscapes. Binaries are displaced by instability, deviance, and multiple selves. Beyond the screen, the protagonists and their worlds have a material legacy as “escapees”, in the form of sculptures and objects that pervade van Zyl’s oeuvre. 
Machines of Love
2020-2021
格拉斯哥艺术节导演单元
格拉斯哥, 英国
皇家美术学院展览
伦敦, 英国
「 爱之机器（Machines of Love）」是一部令人产生幻觉的恐怖片，它把我们引诱到一个腐烂的维京布景下，进入一个埋藏航空器的赌场，延续詹金·范·齐尔在废弃的好莱坞电影布景中的游击电影制作过程。六名食尸鬼带着美好幻想的承诺来到这里，掀起了一场破坏与复兴的色情游戏。他们陷入了机器的角色扮演中，在机身中培育出与自己相似的蛋糕：一股激情的冲动不可避免地以可怕的结局结束。影片关注角色的可变性和轮换，在自我创造中的恐怖、兴奋、恐慌和期待中坠亡，对幻想的持久力量和政治进行反思。Machines of Love is a hallucinogenic horror which lures us beneath a decaying Viking set into a casino of buried aircrafts, continuing Jenkin van Zyl’s process of guerrilla filmmaking in abandoned Hollywood film sets. A sextet of ghouls arrive here on the promise of a Good Fantasy, setting in motion an erotic game of destruction and renewal.Caught in the Machines’ lottery of role-play, they breed cakes of their own likeness into the fuselage: a rush of passion that ends, inevitably, in a grisly conclusion. Attentive to the mutability and rotation of roles, the film free-falls through the terror, excitement, panic, and anticipation held within self-creation in a rumination on the enduring power and olitics of fantasy.
「气球恋物癖（Looners）」是一部万花筒般的奇幻电影，拍摄于阿特拉斯山脉的好莱坞电影废墟中。戴着硅胶面具的表演者带领我们穿越一系列奇幻世界，以一种既可笑又怪诞的方式上演仪式化的快乐和暴力场景。这个不守规矩的物种，介于人类和怪物之间，被模糊的性欲所迫，“一种爱即暴力，暴力即爱”，反复戏弄他们圈养的乳胶充气娃娃。“Looners” is a kaleidoscopic fantasy filmed in the immense ruins of Hollywood sets in the Atlas Mountains. Leading us across a series of fantastical worlds, performers, anonymised by silicone masks, enact scenes of ritualised pleasure and violence in a manner simultaneously ludicrous and grotesque. This unruly species, somewhere between human and monster, are compelled towards abject repetitions by obscure libidinal drives, ‘a kind of love-as-violence, and violence-aslove’, repeatedly hazing their captive latex inflatables.
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.
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