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[ OCAT工作室 ] 非常态:驻地者回访(2006-2019)#1

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这是一份来自世界各地的艺术工作者帮助我们完成的近期调查,帮助我们更好地去了解和思考当前大环境下的各种社会的和艺术的问题。就像他们曾经来参加我们的驻地项目一样,帮助我们更好地去认识每个个体的艺术工作者在一个相对稳定的、一至三个月的在地状态。


“OCAT工作室”是OCAT深圳馆的主要项目之一。自2006年至2013年间连续举办了八期,2018年重启,至2019年,共邀请了来自22个国家和地区的46位策展人、艺术家和研究者。期间,根据每期参与者及其组合的情况,我们尝试了包括公共讲座、工作坊、展览、出版等各种形式的交流和分享。当前,新型冠状病毒造成的全球境况对机构的驻地项目提供了挑战和重新思考的间断。疫情导致至少今年以内的跨国旅行变得不确定,这种无法成行直接促就了我们对作为建筑空间的“工作室”及其联结作用的“宅家”观察与设想:它是一间房子……它是一次旅程……它是一个项目……由此,从所在的城市到所处的生活、工作状态出发,我们设计了几个问题,通过邮件发给我们驻地项目的参与者,并陆陆续续收到回信。我们称之为“回访”——同时,值此OCAT十五周年之际,我们希望作为机构的链接作用可以通过更日常的方式来得以持续。


当我们阅读他/她们的回信时,虽然只是透过文字,我们依然感受到真诚、焦虑、乐观、悲观等等各种情绪和对未来的态度,所以在这个栏目里分享给大家来共同体验。我们将陆续、分篇推出经过我们共同阅读和共同讨论后进行分组的回信内容。


1. 你目前在哪座城市?对身边的疫情情况或生存环境有怎样的感受?

2. 新冠疫情对你的工作和生活造成了怎样的影响?是否让你产生新的灵感或想法?

3. 此前在OCAT深圳馆发起的项目,目前是否有新的进展?

4. 当下疫情限制了出行,国际驻地项目也受到了影响,对此你有什么看法?

5. 有没有你认为值得推荐的线上艺术活动?


1. Which city are you in now? How do you feel about the situation around you?

2. Have there been any updates on the project you initiated during your time at OCAT Shenzhen?

3. Have there been any updates on the project you initiated during your time at OCAT Shenzhen?

4. With mobility under threat, how do you consider international residency as a mode of production?

5. Have you seen or participated in any online art activities that you think worth sharing?


#1

Neno Belchev (2009)

Marko Daniel(2012)

Karolina Bregula(2018)


Neno Belchev

"我或多或少也还是, 一个对当今人们追捧华丽物质甚于华丽思想而感到失望的艺术家" (回信时间:5月23日)


Neno Belchev是一位影像艺术家及制片人,同时也是一位涉猎表演、装置、雕塑及新媒体领域的艺术家。他的电影和影像作品曾在多个国际影像及电影节中获奖,并在多国的驻地艺术家项目中展出。

Neno的作品传达的都是看上去众所周知的事实,但他用具有冲突性且强烈的视觉元素,来呈现这些既有事实,从单一层面看来,这在逻辑及视觉层面都是有冲突的。但这些表面看似冲突的元素改变了这些元素的深层意义,并使其变得多层次。最终,Neno以强烈的非理性力量,传达出了多层次的信息,这是理性的逻辑思考难以考量的。



Neno 于2009年参与了“OCAT工作室”,完成并展出了三件作品。其中两件为行为艺术作品:《三轮车行为》和《斑马线行为》,艺术家将艺术创作与微观且私人的身体以及经验相结合,并以此窥探更宏观的社会问题。另外一件目前为OCAT深圳馆户外藏品之一,是Neno用竹子这一极具中国风的材料,制作的装置《你的身体要成为什么?》(如上图),这个作品设想将鸟儿从作品中放飞,以表达其对身体自由及心灵自由的追求。

1. 我去年在旅行,但现在被困在了家乡,保加利亚的瓦尔纳;-) 我正在创作我的第二部长片。


2. 我不能说所谓的疫情爆发剧烈影响了我的生活。因为过去几年里其实我比以往更内向了,所以也不怎么会见很多人,基本只是坐在电脑前工作。而现在和往常一样,也在奋力工作,所以其实没有很大的区别。有任何新想法或灵感吗?某些人,假装他们受到了启迪,抱歉这么说(其实甚至并不抱歉!),但对我而言,这听起来太天真了。这些“启迪”都是人类很久以前就知道了的,而且我拒绝因某些人(其实他们就是流行文化的产品)终于领悟到了这一切而感动。这些人相信给蒙娜丽莎“画”个口罩就是非常酷的艺术了,但事实上,这完全流于表面且缺乏思考。由此我们可见,疫情的爆发让我对愚蠢的怒火更甚!


3.(距离我在OCAT深圳发起项目)已经超过10年了,当然我的工作方向也发生了些许变化。但我或多或少也还是同一个人、同一个艺术家,一个对当今人们追捧华丽物质甚于华丽思想而感到失望的艺术家。


4. 许多我2020年要参与的项目,都被取消、推迟或者移到了线上。这对于任何人而言也都不奇怪了。我本计划在今年年底去尼泊尔驻地,但现在还不太确定能不能行。我希望能成行。关于新冠病毒的各种信息还不够多,但我个人认为它的危险性被高估了,所以对我而言,不管来自哪里的在地项目邀请我都会接受,因为我认为这种项目对于我个人的艺术发展是非常重要的。我发现改变每天单调乏味的日常能够帮助自己提升效率,这不是什么大发现,但对我个人而言非常有效。只(把工作或项目移到)线上是不够,但也的确解决了很多问题。


5. 在这段非常时期(这是保加利亚政府的说法),我办了两场个展:一场是线上的,一场是在替代性空间。后面那场是在废弃的二战军用地堡里完成的,我非常满意。那是一个实地的展览,我的意思是,不是在线上的,而且还是在户外、郊区、树木丛生的地方展出的,完全免费。展览的主题是反战,这也是为什么选择在地堡里展出。办这个展览的决定是很自发且自然的:我创作这些绘画已经有一段时间了,而这个地堡刚好就适合展出它们。不然这些画的用途可能就会跟现在不太一样。但现在它们都作为便宜的印刷品在展出,每张画都是重叠着重复印刷两到三次。这个地堡在森林中,就在瓦尔纳电视塔旁边,游客常常被吸引到森林里散步!我对这10天内的展期里有那么多人来看展感到惊喜。

Neno在二战废弃地堡展出的反战主题摄影作品

<<  向左滑动,查看更多作品,图片来源于艺术家  >>


另一方面,线上的那个展览,我就不太满意。向我发出邀请的画廊他们的网站并没有设计好,但我是后来才发现这一点的,所以也算是我的问题。我还是同意继续完成这件事,因为画廊主是我的朋友,但不论如何,错就是错了。

 

所以,总的来说,可以说我做线上展览就像一次探险,因为会受各种因素的影响,跟实地的展览有很大不同。或许影像展览风险会小一些,因为影像或多或少都是通过显示器展出。但如果是绘画,可能就不太适合。比如,尺寸大小还是很重要的,在实地展览中尺寸会对观感体验产生影响,但在显示器上,所有的绘画尺寸都差不多是一样的。


(原文)


1. After spending the previous year in traveling now I'm locked in my home town Varna, Bulgaria. ;-)  Working on a second full-length movie.

 

2. I can not say that the so-called pandemic affected my style of life and work in a dramatic way. Last few years, I became an even bigger introvert than before, so, I do not usually meet a lot of people and stay in front of my computer working. Now, as usual, I'm also working a lot. So, it is not a big difference. 


Any reflections? Those people, who pretended that they received enlightenment, sorry but for me, it sounds so naive. These "enlightenments" are things that humanity knows a long time ago and I do refuse to be impressed by the fact that some people (actually pop-culture products) finally reached it. :-) Such people believe that to "draw" a mask on Mona Liza's face is very cool art, actually this is just sliding on the surface of the problem and lack of thinking. So, we can consider that the pandemic made my personal anger against stupidity bigger! 


3. It was more than 10 years ago and as one can expect my direction of works slightly moved. But more or less I'm the same person and same artist, who is disappointed by the fact that nowadays people “run” for glamorous things than for glamorous thoughts. 


4. A lot of the projects, which I had to take part during the 2020 year, have been canceled or postponed or they got moved online. Now it is no surprise for anyone. I had plans for a residency in Nepal at the end of the year, but it still not clear I shall do it. I hope it will happen. The knowledge about this particular virus is still not enough and my personal opinion is that this is overestimated as a dangerous threat, so, I shall accept every invitation for residency it doesn't matter where it comes, because I consider this type of programs important for my personal artistic development. I found out that changing the banality of everyday situations is very productive for me - it is not a big discovery, but personally for me, it works. Only AiR is not enough but it helps a lot.


5. During the extraordinary situation (this is the name after Bulgarian Government) I did two solo-exhibitions: one -online and one in alternative space. I'm very satisfied with the exhibition, which I did in an abandoned military bunker from WWII (Second World War) It was a real exhibition, I mean not online, but I was outdoor, suburban, forested, and completely budget free. It was anti-war themed and that's why it was exhibited in a military bunker. The decision for this exhibition was quite spontaneous: I have been doing these drawings for some time now, and the bunker just fits for them. Otherwise, the purpose of these drawings is a little bit different, so now they are displayed as cheap prints, each drawing being printed two or three times on top of each other. The bunker is located in the forest next to Varna TV Tower and the visitors were driven to take a nice walk through the forest! I was surprised at how many people actually visited it for the 10 days it was exhibited.


And on the other hand is this online one, by which I'm not satisfied at all. The gallery, which invited me hadn't a well-designed website, but I found out it later. It was my mistake. I agreed to make it because the owner is a very good friend of mine, but anyway, it was a mistake.


So, in conclusion, I can say that making an online exhibition is a risk, because it depends on a lot of factors, which quite different then if you make an exhibition with a physical presence. Maybe for video exhibition, the risk is less because videos more or less are presented on monitors, but if these are paintings, my opinion is that it is not the proper presentation. For example for paintings the size still has importance, as in real life size gives an impact, but on a monitor, all of them become more or less the same size.



Marko Daniel

"我们需要守护像国际驻地这样的交流方式的价值" (回信时间:5月27日)


Marko Daniel是中国及加泰罗尼亚当代艺术领域的专家,他曾在南汉普顿、台湾、伦敦和巴塞罗那任教。2006年,Marko加入了泰特现代艺术馆,担任公共项目的策展人,并于2011年起担任泰特现代美术馆以及泰特美术馆公共项目策展人。2018年1月起,Marko任巴塞罗那胡安·米罗基金会美术馆馆长。


2012年,作为泰特现代美术馆(Tate Modern)与泰特英国美术馆(Tate Britain)成人项目的召集人,以及泰特现代美术馆公共项目策展人的Marko受邀参与"OCAT工作室“项目,在驻期间举办讲座“泰特现代美术馆的油库空间:一个未来美术馆的开放宣言”,对于在新空间中所展开的实验性策展进行了批判性的分析。

1. 我2018年搬到巴塞罗那,现在也因为疫情被困在这里。西班牙是欧洲受疫情影响最大的国家之一,尽管情况正慢慢地好转,我也从3月13日一直居家隔离到现在。我们希望病例不再增加,局势继续好转。


2. 我现在是胡安·米罗基金会(Fundació Joan Miró)的美术馆馆长,我们从3月13日起就一直闭馆。美术馆打算6月中旬重新开放,关门三个月,我们预计观众数量可能在一年或者更长时间里都会受到影响,我们也在相应调整展览计划。疫情对我们美术馆以及整个社会的经济冲击都非常大。我们都仍在家办公,大家还能坚持下去,但也都非常希望能再聚首。


3. 距离我在深圳参加驻地已经有一段时间了,我项目的一些重要进展——第八届深圳雕塑双年展——也都过去了。对我来说同样重要的是我在深圳时结交的朋友和遇到的人。跟他们的交流帮助我从国际层面理解当下的危机,同时我也了解到了各地——尤其是中国——同行的一些优秀项目和实践。


Marko Daniel是第八届深圳雕塑双年展“我们从未参与”的策展人及同名出版物的主编

4. 我认为我们需要守护像国际驻地这样的交流方式的价值,而且要尽快恢复这种模式。但毫无疑问的是,驻地项目的实际运作需要有一些调整。


5. 封闭期间大家没办法来到美术馆参观,所以我们也为大家提供了线上的内容,目前运营也很成功。


胡安·米罗基金会在疫情期间设计的线上内容


(原文)


1. My experience of COVID-19 has been lockdown in Barcelona, where I live since 2018. Spain has been one of the most affected countries in Europe and the lockdown has lasted now since 13 March though it is slowly being eased now and we hope that the gradual progress can be successfully maintained without a new rise in cases.

 

2. The Fundació Joan Miró, the museum of which I am the director, has been closed since 13 March and we are now preparing to reopen the museum and exhibitions in the middle of June, which will make the total period of closure around three months. We are expecting the impact of the crisis on visitor numbers to last for a very long time, up to a year or more, and are adjusting our exhibition programme accordingly. The economic impact on our museum and on the whole of society is huge. We are all still working from home, which allows us to keep going but there is a huge appetite for getting together with people. 


3. As my residency was quite some time ago, the main updates are also already in the past: the 8th Shenzhen Sculpture Biennale. Equally important are the many contacts and friendships I made during the residency and these contacts have been very useful in terms of understanding the international dimension of the current crisis and of learning from the good examples and good practice of others, especially in China, where colleagues first experienced this pandemic.


4. It will be very important to defend the values that underpinned international exchanges such as residencies and to return to this model as soon as possible, even though there will no doubt need to be practical and logistical changes to the way they are run.

 

5. Our own museum has created online content for visitors and families that are in lockdown while they cannot physically visit our museum. This has been a huge success.



Karolina Bregula

"我们原本认为理所应当的现实,原来是这么的脆弱。" (回信时间:5月25日)


Karolina Breguła是一位从事影像、摄影和装置领域的艺术家,同时也是什切青艺术学院的副教授。她的影像作品处在艺术和电影的边缘——它们在美术馆和电影节上都有展示。Karolina的作品曾在华沙国家博物馆、扎切塔國家美術館和伦敦当代艺术中心、纽约犹太博物馆以及威尼斯第55届国际艺术展展出,获得的奖项包括观点2013——德意志银行基金会奖、2007年三星艺术大师奖、2016年格丁尼亚电影节金爪奖和2015年视频巴西奖。


在2018年"OCAT工作室"的活动中,Karolina放映了她的作品《塔》,并以“塔”为意象展开她关于现代主义住宅建筑的研究及其他相关作品的演讲。

1. 我现在在波兰华沙。但其实我的创作和生活都集中在台湾,然而我过去三个月都没有办法过去了,而且可能在短期内都无法回去。我周围的许多朋友都失去了收入来源,波兰的政治局势也不太稳定,一切都让我感到不安和担忧。


2. 是的,新冠疫情给我的生活带来了极大的影响。过去三个月我在艺术学院教书,上课全都在线上进行。所有原定要参加的展览都暂停、延期或者取消了。我只得取消自己在台湾的全部工作,包括拍摄我自己的电影。当下唯一的反思,就是我们原本认为理所应当的现实,原来是这么的脆弱。


3. 我的工作停滞了将近半年,但现在又重新展开了,现在正在为波兰一间博物馆的展览和一本书籍出版做准备。当然在书籍付诸印刷前我会提前告知你们,看你们是否愿意将馆标印在书上。另外,我在深圳所写文本的一部分也被收录进了影片里,你们可以点击这个链接观看:http://karolinabregula.com/portfolio/dust/

Karolina根据在OCAT深圳馆时所做的研究而创作的电影作品 《Dust》

4. 我觉得很重要的一点是,脱离聚会、讨论以及交流,何来艺术。而如果没有了旅行和驻地,上述一切都无法实现。如果我们不想终止所有的跨文化交流,就需要重新思考我们的工作方式。直到现在,我仍反对将所有作品都移到线上发布,反对将所有会议都变成线上会议,但我自己也仍未找到更好的替代方式。我进行中的一项学术项目是一个学生论坛,现在正和台湾、波兰和厄瓜多尔的学生们一同筹备。我们的主要目标是找到跨文化社群的人们联结与交流的新方式。


5. 我在波兰什切青市艺术学院教电影。现在没办法做电影拍摄以及制作设备的演示,所以教学变得非常困难。尽管困难重重,我们仍顺利地逐渐摸索到了线上授课的方法。除了在艺术学院常规授课,我也做了几次线上的讲座和艺术家会谈。一切都进行得十分顺利,我遇见了来自不同国家和城市的听众。如果没有线上的形式,他们也不会有机会参与到我的活动之中。有些我本应参加的活动取消了,也有一些为了适应当下的情况移到了线上。我现在正在为两个项目的线上展出做调整——一个线上行为艺术节的演出(W Performance),以及一部电影装置的线上展览。


it's a still from the film work I've been making remotely (still in production) during the coronavirus quarantine. The work will premiere in 3 weeks. 

这是在疫情期间,Karolina远程制作的电影作品。该作品目前仍在制作中,并将于三周后首映


(原文)


1. I'm in Warsaw in Poland. A lot of my work and life is in Taiwan where I haven's been able to go there for the past three months and where I will most probably not go to soon. Many people around me have lost their source of income. The political situation in Poland is very unstable. All this makes me feel insecure and worried. 


2. Yes, coronavirus effected a lot in my life. I teach in the Academy of Art and for three months the teaching has been entirely online. All the exhibitions I was supposed to take part in were suspended, postponed or cancelled. I had to cancel nearly all the work I had in Taiwan including the shooting of my own film. The only reflection I have for now is on how fragile our reality we take for granted is.

 

3. I suspended the work on the project for nearly half a year but now I'm working again and preparing for an exhibition at a museum in Poland and a book publication. I will obviously let you know before I print it so you see if you're happy and want your logo on it. Additionally, a part of the text I wrote in Shanzhen was used for a film which you can see here: 

http://karolinabregula.com/portfolio/dust/


4. I think it is important to remember that there is no art without meetings, discussions and sharing perspectives. All this will be impossible without travelling and residencies. If we are supposed to suspend all the transcultural exchange, we really need to rethink our working methods. For now I'm still against publishing everything on the internet and moving all meetings to online conference platforms. I don't see a better way yet, too. One of the academic projects I work on now is a student symposium I'm doing with the students from Taiwan, Poland and Ecuador. Our main goal is to find a new way for transcultural communities of people from different parts of the world to be together. 


5. I teach film in the Academy of Art in Szczecin. It is difficult to teach film with no access to the studio and filming equipment so it is not easy. But in spite of the difficulties, we have managed to relatively smoothly organise our teaching online. Apart from the regular teaching at the Academy of Art, I gave a few lectures and artist talks which were also organised online. All this went fine and I enjoyed meeting audience from other cities or countries who would normally not have access to the events. Some of events that I was supposed to take part in were cancelled but some have moved online and try to adjust to the current situation. I've currently been working on adapting two projects to the online presentation – w performance for an online performance festival and a film installation for an online exhibition. 


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冯震霆、胡天庥、黄雨晴、刘诗羽、王景、王静晗、周章彦


[ OCAT工作室 ] 非常态:驻地者回访(2006-2019)#2,将会分享艺术家Feisal Arahmaiani (2007)、罗永进 (2009)、Federico Pérez Villoro (2019) 的回访,敬请持续关注。


敬 请 期 待

2020

OCAT PERFORMS

OCAT表演

  表 演 Performance  


1

纸老虎工作室  被动策略剧场

Paper Tiger, Passive Strategy Theatre

《感染、紧急状态和贝多芬》

Infection, State of Emergency,Beethoven


2

生活舞蹈工作室  记录剧场

Living Dance Studio

《红》

Red

表演介绍及购票链接:[ OCAT表演 ] 《感染,紧急状态和贝多芬》/《红》



  展 览 Exhibition  


 当代表演文献开放展

Participatory Exhibition with Archived Contemporary Performance

“二〇20年:整个世界变成了剧场”

2020: Twenty Years towards A World Theatre

展览作品征集介绍:[ OCAT表演 ] 当代表演文献开放展作品征集

OCAT深圳馆成立于2005年,位于华侨城创意文化园内,是OCAT馆群的总馆。作为馆群中成立最早的机构,OCAT深圳馆长期致力于国内和国际当代艺术和理论的实践和研究。从开创至今,一直围绕着艺术的创作和思考而展开其策展、研究和收藏工作。


地址:深圳南山区华侨城恩平街华侨城创意文化园南区F2栋OCAT深圳馆

开放时间:10:00 - 17:30(逢周一闭馆)

网站:http://www.ocat.org.cn/index.php/home

微信公众号:OCAT深圳馆(ID: OCATShenzhen)

微博:OCAT深圳馆

Instagram:ocatshenzhen

Facebook:OCT Contemporary Art Terminal - OCAT Shenzhen



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