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#詹金·范·齐尔#北京
Limitless Growth
詹金·范·齐尔
Will open until Aug. 15th, 2024 地址 Address
户尔空间·北京
北京市朝阳区酒仙桥路2号798艺术区东街D08-3Hua International D08-3, 798 East Street, 798 Art DistrictNo.2 Jiuxianqiao Road, Chaoyang District, 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。In Limitless Growth at Hua International in Beijing, Jenkin van Zyl draws 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.
詹金·范·齐尔 Jenkin van Zyl
天堂囚徒之一 Prisoners of Paradise i, 2024铝制易拉罐，双向镜，LED照明单元，电镀树脂模型，铝合金型材，聚乙烯镜面膜Aluminium cans, two-way mirror, LED ceiling tiles, electroplated resin, aluminium extrusion, PE mirror film
詹金·范·齐尔 Jenkin van Zyl
天堂囚徒之二 Prisoners of Paradise ii, 2024铝制易拉罐，双向镜，LED照明单元，电镀树脂模型，铝合金型材，聚乙烯镜面膜Aluminium cans, two-way mirror, LED ceiling tiles, electroplated resin, aluminium extrusion, PE mirror film在一对被双向镜走廊包围的雕塑 《天堂囚徒》i & ii（2024） 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 a pair of sculptures encircled by corridors of 2-way mirrors, Prisoners of Paradise 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."
詹金·范·齐尔 Jenkin van Zyl
天堂工程耐力合作伙伴门铃之十三 P.E.E.P. Buzzer – xiii, 2024
詹金·范·齐尔 Jenkin van Zyl天堂工程耐力合作伙伴门铃之十四 P.E.E.P. Buzzer – xiv, 2024
ABOUT
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.
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