户尔北京 | 詹金·范·齐尔 中国首次个展「无限生长」即将开幕

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#柏林#詹金·范·齐尔

Jenkin van Zyl

詹金·范·齐尔

开幕 Opening

2024.5.24

16:00

地址 Location

户尔空间很荣幸于2024年北京画廊周之际，为您呈现詹金·范·齐尔的首次中国个展「无限生长」。

Hua International is proud to present Jenkin Van Zyl's solo exhibition"Limitless Growth"first time in China on the Gallery Week 2024 in Beijing.

在户尔空间北京的 「无限生长」展览中， 詹金·范·齐尔发展了他基于其电影 《投降（Surrender）》中的世界构建。参考了20世纪30年代大萧条时期的舞蹈马拉松、酷儿夜生活和日本情趣酒店，讲述了鼠脸客人在天堂工程耐力合作伙伴（P.E.E.P.）酒店的经历，他们在酒店的舞厅里参加一系列越来越奇怪的比赛，探索身体的局限与极限。

舞蹈马拉松竞赛出现在一个痴迷于公共耐力概念时期的美国，参赛者被迫连续数天不停地跳舞，以换取食物、住所和大奖的可能性。参赛者被分配了舞伴，必须遵守严格的规则，与这些规则共同出现的，往往是选手奇异的对策：在舞池中铺设床铺，得以在短时间内休息，以及在保持跳舞的同时完成吃饭和洗澡等基本生存需求。如果一对情侣中的任意一方未能遵守规则而停止，两位选手都将面临淘汰。由于往往有制作人操纵剧情，这些马拉松实则将痛苦与娱乐结合，预告了电视真人秀和当代的注意力经济。

在一对被双向镜走廊包围的雕塑 《人人都爱赢家》（铬合金无限生长）i & ii（2024年） 中，范·齐尔描绘了一对舞蹈马拉松选手。摇摇欲坠地站在能量饮料堆上，并在被监控的玻璃橱窗中无限反射，这对情侣在崩溃和忍耐之间摇摆不定，似乎是在出于无法满足的渴望、逃避现实的欲望或寻找亲密关系的状态下竞争。在这种奇特的优雅又绝望状态中，这对情侣在原作与复刻、自我与他人之间界限坍塌的受力点上旋转，彼此支持，相互崩溃。两个蜂鸣器系统，P.E.E.P. buzzer xiii & xiv，位于玻璃橱窗两侧，参考了情趣酒店中的选房器以及官僚或科学实验的工具。蜂鸣器挑逗着人们对上锁的门的期待与幻想中的承诺，一个所谓修改重做的机会，一场消失，哪怕只是短暂的消失。

尽管有这些控制和疏离的框架，这对情侣仍在坚持。范·齐尔表示，“虽然《投降》是关于结束，但它也是关于开始，它所展示的自我并不是完全个体化的，因此不可避免地与关爱和相互依赖的关系密不可分。”「无限生长」马拉松中的伙伴们并不存在于持久，而是存在于他们共同恢复、再恢复和重塑的韧性中。正如塞缪尔·贝克特在《无法称呼的人》中所写：“......你必须继续。我无法继续。我要继续。”

In Limitless Grow that Hua International in Beijing, Jenkin van Zyldraws from the world-building of his film-based project and installation, Surrender. Referencing dance marathons of the 1930s Great Depression, as well as queer nightlife and Japanese love hotels, Surrender follows the experience of rat-faced guests to the Paradise Engineering Endurance Partnership (P.E.E.P.) Hotel,who compete in a series of increasingly strange tournaments in the hotel’s ballroom that play with the limitations and expansiveness of the body.

Dance marathons emerged amidst an America obsessed with the idea of public endurance, with contestants pushed to their limits whilst 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. With storylines manipulated by their producers, these marathons often combined suffering and entertainment in a method that foreshadowed reality-TV and our contemporary attention economy.

In a pair of sculptures encircled by corridors of 2-way mirrors, Everybody Loves a Winner (Chrome Limitless Growth) i & ii (2024), van Zyl depicts chromed duets of dance marathon competitors. Teetering on stacks of energy drinks, and reflected infinitely within surveillance vitrines, the couples oscillate between collapse and endurance, seeming to compete out of an insatiable yearning, a desire for escapism, or a search for intimacy.

Caught in this state of strange grace and despair, the couples pivot on the pressure point at which barriers between the original and the copy, between self and other, collapse. Anchored in ambivalence, and supporting one another in mutual states of collapse, the sculptures relate archival photographs of collapsing couples in the 20th Century’s marathons to contemporary issues of productivity and the commodification of rest and activity.

Two buzzer systems, P.E.E.P. buzzer xiii & xiv, flank the vitrines. Referencing room selectors found in love hotels and instruments of bureaucratic or scientific experiments, the buzzers tease the promise of a locked doorway—the chance to revise,the chance to redo - to disappear, if only briefly— and take on mischievous and contradictory combinations.

Despite these frameworks of control and alienation the couples persevere. Van Zyl suggests that "as much as the project of Surrender is about The End it is also about beginnings, with a view of the self which isn’t wholly individualized and is consequently inseparable from relations of care and interdependence.” The partners in Limitless Growth’s marathon exist not in their permanence, but in the resilience with which they together might instead recover, re-recover and reform, encapsulating what Samuel Beckett named in The Unnamable: "... you must go on. I can’t go on. I’ll go on".

关于艺术家

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

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.