撰文 | 拉斯方
来源 | 界面艺术
第59届威尼斯双年展国际艺术展海报
moxigechaoxianshizhuyiyishujialiaonuola·kalindun(leonora carrington)qiyidetongshuzuopin《mengxiangzhiru》zhongyouyipianmingwei《xiaohaiqiaozhi》degushi,jiangyiweijiaozuoqiaozhidenanhaixihuanchifangjianlideqiangbi,tadebabaquyaodianmaileyipingyao,dandangxiaonanhaichixiayizhengpingyaozhihou,tadeludingquebianxingchengleyidongfangzi。nanhaiduiyuzheigebianhuahenkaixin,dantadebabaquefeichangbeishang,yinweisuoyourendouzaiduitashuo:“xiansheng,niyougeduomeqiguaidehaizia。”
The Child George,The Milk of Dreams, Leonora Carrington
di59jieweinisishuangnianzhanguojiyishuzhanzhengshiyizheiyangyibuqiyide、jifuhuanxiangsecaideshujizuoweimingming。zaiyinyiqingyanqideyinianzhiji,shuangnianzhanzhongyuzai2022nian4yue23rixianggongzhongkaifang,zhanchulaizi58geguojiade213weiyishujiadezuopin,qizhongyoujiuchengnvxingyishujia。zhanlandesandazhutiquyufenbiewei“shentijiqibianxingdebiaoxian”、“gerenyujishudeguanxi”、“shentiyudiqiudelianxi”,zhutizhan“mengxiangzhiru”biaotixialingsheyouwuge“jiaonang”shi“zhanzhongzhan”,fenbiewei“nvwuyaolan”、“rendeguiji”、“jishuzhimei”、“yiyeyipaoyibeiyiwangyinangyidaiyidanyipingyiguanyixiangyiqi”he“saiboyouhuo”,zaitantaoshentihejingshenbianjiedetongshimohulebianjie,cong19shijideshenmixuehewushuzhongxiequlinggan,yichaoyuedefangshishenshiwaizaishijie。rutongcezhanrensaixiliya·alaimanni(cecilia alemani)suoshuo:“kejideyali、yiqingdebaofa、shehuijinzhangjushidejiaju,yijipozaimeijiedehuanjingzainanweixie,meitiandouzaitixingwomen,zuoweifanren,womenjibushibukezhanshengde,yebushizijizizude,ershiyigegongshengwangluodeyibufen。jiangwomenbici、qitawuzhongyijizhenggediqiulianxizaiyiqidexianghuyicunguanxi。”
Open circle Lived Relation (detail); Resistance is an atmospheric condition,” 2020, by Precious Okoyomon
Latifa Echakhch, ‘The Concert’, 2022 (installation view, Swiss Pavilion at the 59th International Art Exhibition – La Biennale di Venezia). Photo: Samuele Cherubini. Courtesy the artist
zhanlanyingzaoleyigeguilideshijie,tabingmeiyouzhijiedihuiyingdangxiarenmenguanzhudejinzhangshijiejushiheweixie,danchuchudouliuluchuheshidaimingtinanyifengedejiaozhegan。alaimannirenweikalindundegushixiangshiyigeshijiyuyan,shuzhongmiaohuileyigechongmankenengxingdeziyoushijie,dantongshiyefanyingzheshidaijiangnanyichengshoudeyalijiazhuyurendeshenshang,shenghuozaidangxia,womenxuyaomianduijudadebuquedingxing。erweijishidaideyishushengchanyehuifashengzhebianhua。
Elephant, 1987, by Katharina Fritsch
kalindungushizhongdejiaosechangchangyiyizhongfangfobuzizhidenengliangzhuanhuanenggouyinqijingju、bingtonghebaoyuandeshiwu。birupiaoliangnanhaihebotedemeimeijiangyitiaoeyufangzaitadechuangshang,eyuyintademeilierxiangtaweixiao,ranhouheboteheeyuchengweilepengyou;ganmaodexiaotianshihediaoyangganjuchazhihouezuojubandichonglouxialuguoderensaniao,weilewandekaixintayaohexiagengduodeyangganjucha;yongyouyizuohuayuandetufufachouyulimianconglaibuzhanghua,yuanyinshituzichidiaolesuoyouzhiwu,dantufuyoufeichangxihuantuzi,yushijiuyongyangrouzuochenglemeiguideyangzi……zheixiebianxingderentihedongwu、chaoxianshidegushichangjinghenaodongdakaidexiangxiangli,sihumenglongdijiangshuzheyigege“beiyayiwudehuigui”degushi。
Humbert the Beautiful,The Milk of Dreams, Leonora Carrington
dangxiaxinguanyiqingchongjizhequanqiujingjizhilitixi,xuduojiegouxingmaodunyincibeibaoluchulai,shijiedeliehenhechuangshangrucimingxidixiangrenmenchangkai,yizhongmisandeyoulvqingxushirenmenshituzhaochuzhengjiesuozai。xinxikexuejishufazhanchudegaodukongzhili,jiangyiqiezhenghoushiweikejiuzheng、kezhiliaodecunzai,ranershejidaodewenhua、zhengzhi、lishi、jingji、shehuidengyinsudejiugerucifuza,danyide、birandejiedabingbucunzai。jiuxiangyuyanbandegushi《xiaohaiqiaozhi》lideneiweifuqin,duiyuhaizichaochusuoweichanglideshiyu,diyifanyingshiduizhengxiayao,eryaodao“bing”quemeichu,“bing”shenzhicongyinxingbianweixianxing。dangkeji、lixingheshujujuecewufajiejuesuoyouwentideshihou,chuangshangzhuanhuaweimouzhongbingbiandebiaozhengxingshi,lishizhongbeiyangai、beidanhuahebeimohudiaodebufenyehuiyilingyizhongxingshizouxiangwomen。
Collin Sekajugo’s Stock Image 017 - I Own Everything, 2019–22
alaimannizaizhanlandaoyanzhongshuodao:“jintian,shijiesihuzaijishuleguanzhuyihebeirengongzhinengwanquanjieguandekongjuzhijianyaobai。covid-19yiqingjiajulezheizhongliehen,tajiangdabufenrenjihudongguanzaidianzishebeidepingmuhoumian,bingposhiwomengengjiashuyuan。zaizheijigeyuelai,rendecuiruoxingyijingbeicandixianxianchulai,dantongshiyoubaochizhejuli,tongguojishuguolv,biandejinhuwuxing。”tarenwei,dangxiayishujiamentongguozuopinsikaodebingfeijinjinshijieshi“womenshishei”,ershixishouzheigeshidaideyoulvhekongju,xiangrenmenzhanshiwomennenggouchengweishenmeyangderen。
zheishiyichanghuanxiangyufansidelvcheng,yeshiyichangfuhuayuyunyudelvcheng。shuangnianzhanzhuxiluobote·qikutuopinglunbencizhanlanshishuodao:“tagouxiangleyizhongzhanxindehexie,yijiqijinweizhinanyixiangxiangdegongqifangshihelingrenjingyadejiejuefangan。”yishujiamentongguozuopintantaozheigeshidairenyurenlianjiedekeneng、aidekeneng、lijiedekeneng、yuziranhexiexiangchudekeneng。
美国馆
Monumental,Brick House (2019) by Simone Leigh, part of The Milk of Dreams at Venice Biennale. Photograph: David Levene/The Guardian
“Sentinel” (2022), bronze, 194 × 39 × 23 1/4 inches
shouweidaibiaomeiguocanjiaweinisishuangnianzhandeheirennvxingyishujiaximengna·li(simone leigh)shibenjieshuangnianzhanjinshijiangzuijiayishujiadehuodezhe,tadezuopinzhuanfang (brick house)shezhizailejunxiekuzhantingderukou,zheijiannvxingbanshentongxiangheyigugubabanhuajiabelkis ayónshenmideheibaituxiangbingzhiyuyigefangjian。ximengna·li1967nianchushengyuzhijiage,tadebiaozhixingzuopinzhongfengyudebanluoheirennvxingxingxiangtongchangyouzheshuihuxing、zhuixing、beiqiaoxing、xiguaxingjiegou,yishujiatongguojiangkebanyinxiangyutedinglishifuhaojiehe,anshizhejigeshijiyilaiheirendikangzhiminzhuyi、zhongzuzhuyi、xingbieqishi、bairenzhongxinzhuyidelishi。
“Last Garment” (2022), bronze, 54 × 58 × 27 inches
tadediaosuwangwangqueshaoyanjing,xiandeshenmi、anjing(erxiangduiyingdeshibelkis ayónzuopinzhongdejialebidiqudeshenhuagongzhusikán,tadeyanjingshishentishangbeimiaohuidezuiqingxihemingliangdebuwei),cezhanrenhailun·moersiwosi( helen molesworth)renweizheizhongwushixiandesuxiangtixianleyizhongziwobaohudefangshi:“zheibiaoshitamenmeiyoufangqizijidemimi,tamenshibukelveduode,tamenbunengbeizhanling、zhimin、lalonghuozhezhengfu。”
Belkis Ayón’s La cena (Last Supper) (1991), in “NKame: A Retrospective of Cuban Printmaker Belkis Ayón,” at El Museo del Barrio. Collection of the Belkis Ayón Estate
英国馆
Artist Sonia Boyce standing in room 5 at the British Pavilion, 2022. Image by Cristiano Corte © British Council
jinshijiangzuijiaguojiaguanjiangbanfajileyingguoguanheyishujiasuoniya·boyisi(sonia boyce),boyisicong1990niandaichukaishizhuanzhuyushehuishijianyishu,changyaoqingshehuibianyuanqunti(jiyuzhongzu、jiejihexingbiedeng)canyuchuangzaozuopin,bencishuangnianzhanshangzhanchudexiangmu《ganshoutadefangshi》(feeling her way)yuanqiyu1999niantazaiyingguoliwupuyuliwupuheirenjiemeihui(liverpool black sisters)dehezuo。zaiyicigongzuofangshang,boyisiyaoqingdajialiejumeigerenshuxideyingguoheirennvgeshou,ranerfeichanggangadeshi,lijingle10fenzhongzuoyoudechenmozhihou,renmencaikaishixiangdaoyixiemingzi。boyisirenweizheishiyizhongjiegouxingdeyiwang,yibufenyishujiayinweizhongzuhexingbieyuanyinbeibianyuanhua。
Room 1 in the British Pavilion featuring performers Jacqui Dankworth and Sofia Jernberg, 2022. Image by Cristiano Corte © British Council
zaineicigongzuofangzhihou,boyisichixudiyurenmentaoluntamenxihuandeheirennvgeshouhuati,laizhujiankuochongzheigegeshoumingdan。zhanguanzhongpailiezhehuangtongkuangxingzhuangdedujinjihewuti,baifangzheboyisicongyinxiangzhekouqushoujilaideheirennvxingyinlejiadezhuanji、cdhecidai。zhantingneipingmuzhongsiweiyinlejiaadjudha、dankworth、tikaramhejernbergdeshengyinbicijiaozhizaiyiqi,gongxiangtongyigekongjian。boyisishituzaizuopinzhongtiwen,zaixiaaidegerenziyoudingyizhiwai,ziyoushifouyeguanhuyuwomenyutarendeguanxi、shifouyeshiyizhonggongtongnulidejieguo。
法国馆
Dreams Have No Titles,Zineb Sedira ©Thierry Bal and Zineb Sedira
daibiaofaguoguancanzhandexinbu·saidila(zineb sedira)1963nianchushengyubali,1986nianyijuyingguo,tadefumushilaiziaerjiliyadeyimin。jiatingdekuawenhuabeijingshitaduiyugeren、jitijiyiyushenfendewentiyouzhedutederenzhi,ruzuopin《muyu》(2002)zhanshiletamenjiatingdesandairenfenbieyongmuyutaoluntongniandehuamian——saidilashiyongfayu,tademuqinshiyongalaboyu,tadenvershiyongyingyu,ernveryuzumuzhijianwufajiaoliu。2004niandao2005nian,talaidaoaerjiliyalvxing,lejiedaodangdidejianzhu、yinle、wenxue、dianyingzhishi。zheixiejinglishitajiangaerjiliyazuoweiyigeyonghengdelingganhesikaoduixiang。
©Thierry Bal and Zineb Sedira
tadezuopintongchangshizichuanxingzhide,tongguoyanjiu、shenrudanganhewenjianweirenmenbaoliujitijiyi。bencizhanchudezuopin《mengwuti》(dreams have no titles)xuanquleyixieaerjiliyahouzhiminshiqidedianyingpianduan,ru《aerjierzhizhan》(la battaglia di algeri,1966nian)he《ziyouzhishou》(les mains libres,1964/65nian),qianzhecengzaifaguobeijinguoyiduanshijian,houzhezeshiguanyudangshiaerjiliyazhuangkuangdejilupian,saidilayicanyuleyingpiandexiufugongzuo。zaizhantingnei,saidilabuzhileyixiliechangjinghezhuangzhi,bingshezhilezhaomingxitonghexiangji,zuopinzhanshichuledianyinggongyedexiangguanjiqiao,jieshichudianyingzaimouzhongyiyishangshiyizhongxiangguanzhongtuixiaohuangyandemenggongchang。pinglunjiarenwei,zheijianzuopintongguozhongpaitedingticaidedianying,bangzhuwomenxiaohuananyichulidexianshishijian。
丹麦馆
Uffe Isolotto - We Walked the Earth - Danish Pavilion,Copyright UGO CARMENI 2022
danmaiguangongxianlebencizhanlanzhongzuilingrenbuandezuopinzhiyi,yishujiawufu·yisuoluotuo(uffe isolotto)dezhuangzhizuopin《womenzouguodiqiu》(we walked the earth),chengxianleyigebanrenmajiazudebeijugushi。zhantingbuzhichengleyigedanmainongchangzhongmajiubandekongjian,puyoushikuai、gancaoduohemafen,yiweibanrenmanvxingwozaidishangfenmianshi,banrenmananxingyijingshangdiaozisha。zuopintixianlebuduanbianhuadexianshizhongrenmenzaijuewangyuxiwangzhijiandongdangdezhuangtai。yisuoluotuoshuodao:“womenshenghuodezheigeshidaibiandeyuelaiyuefuzahebukeyuce,yinweiwomenmianlinzhexuduojuyoutiaozhanxingdexianshi,wulunshishengtaide、zhengzhidehaishicunzaibenshen。kongqizhongchongmanlexiwanghejuewang,woxiangtongguozheigezhuangzhijiangqibianweixianshi。”
比利时馆
Installation view of “The Nature of the Game,” Francis Alÿs,Belgium Pavilion,2022; © Francis Alÿs, photo by Roberto Ruiz, courtesy of the artist
bilishiguanyaoqingcezhanrenxierde·teerlinke(hilde teerlinck)heyishujiafulangxisi·ailisi(francis alÿs)zhanchuxiangmu《youxidebenzhi》(the nature of the game),xiangmubaohanyixilieyingxianghehuihua。zi1999nianyilai,ailisizailvxingtuzhongchixudiyongxiangjijilubutongguojiahediqudeertongmenzaigonggongchangsuowanshuadehuamian。zheicizaibilishiguanzhanshideshitazaiafuhan、bilishi、gangguominzhugongheguo、zhongguoxianggangdiqu、moxigeheruishipaishedeyingpian。ailisirenwei,ertongyouxibiaodalehaizimenhetamensuoshenghuodeshijiezhijiandechuangzaoxinglianxi,xianzaideyixieertongyouxirengyunidelanhuajiabide·bolugaierzai《ertongyouxi》(xianzangyuweiyenayishushibowuguan)neifuhuazuozhongmiaohuide16shijiertongyouxixiangsi,huozheshuo,ertongyouxizhijiandexiangsixingshikezhuisude,《ertongyouxi》zheifuzuopinyeyu1530nianyiweinimingzuojiadefolanmangshigeyouguan,zaishizhong,renleibeibizuowanquanchenjinyuyuchunyouxizhongdehaizi。
The Nature of the Game, Francis Alÿs
ertongyouxiquefaguizehejiexianganrangailisigandaozhemi,rurenleixuejiadaweimaike·dugeer(david macdougall)suoshuo:“haizimenshanyuyonghenshaodedongxicouhe,zaigezhonggeyangdehuanjingwanqizijideyouxi。congzheifangmianlaikan,tamenchuangzaoleyigeyuchengnianrenshijiepingxinghezhongdiedeshijie,danduiwuzhiziyuandeshiyongquejieranbutong。” ailisiyiminzuzhidefangshijilulewenhuachuantongdelilianghehaizimenqingsong、ziyouhezizhudetaidu。suizheshejiaohuodongyuelaiyuexunihua,ailisixiangzaizheixieyouxixiaoshiqianbatamenjiluxialai。
芬兰馆
Pilvi Takala, Close Watch (still), 2022, multichannel video installation
fenlanguanzhanchuleyishujiapierwei·takala(pilvi takala)dexiangmu《miqiezhushi》(close watch)。takaladezuopinchangguanzhushehuikongzhiheshehuiyaliwenti,zai《miqiezhushi》xiangmuzhong,tazaifenlanheerxinjizuidadeanbaogongsizhiyisecuritaszhongzuoleliugeyuedeshangchangjingwei,mimidiaochaheyanjiulegonggonganquanheyinxingpianjiandewenti,wodijieshuhoutayaoqingjingweitongshicanyucaifang,taolungongzuozhongchanshengdeshidangxingwei。tadediaochaxianshi,jinguandaduoshurendouxiangchengweigongzuochanghezhanchulaizhichuwentideren,danshijishangyaozuodaozheidianfeichangkunnan。duitakalalaishuo,xiangmuzhongbaohandeyigedaodewentishiguanyuzijishifoukeyihehudaodedigongzuo,biruzaiyixieshihouxuyaohuiyingzhongzuzhuyixiaohuahuo“zhanzhenggushi”,huozhedangtabeiyaoqiuzuoyixiezijibuxiangzuodeshiqingshi,shifouyouheshangjishangtaodeyudidengdeng。
Pilvi Takala, Close Watch (still), 2022, multichannel video installation. Courtesy Carlos/Ishikawa, London; Helsinki Contemporary; and Stigter van Doesburg, Amsterdam
zaixiangmujinxingguochengdangzhong,tafaxianzaigongzuochangsuonanyijinxingjianshexingduihua,dangtichuzhiyideshihouwangwanghuizaoyuduifangdebianjie,ouertayehuiyinweishehuiyalierfeizijidejiazhiguanxingshi,tafaxianzijiyinxiwangdedaotongshidezunzhong,youshihouhuiyiyizhongweixindefangshixingshiquanwei。mimipaishedeshipinzaijingtongshiyunxuhouhuibianyuzuopindangzhong,tongshitayejiangcujiandebanbenxiangsecuritasguanlicengzhanshi,xiangtamenfenxiangzijizaigongzuochangsuodefaxian,yitongtantaoruhegaijinhejiejuewenti。
新西兰馆
Yuki Kihara, Si‘ou alofa Maria: Hail Mary, (After Gauguin), 2020. From Paradise Camp. Courtesy of Yuki Kihara and Milford Galleries, Aotearoa New Zealand
samoya-ribenjikuaxuekeyishujiamuyuanyouji(yuki kihara)shidiyiweiruxuandetaipingyangyi(pasifika)yishujia,tazaixinxilanguanzhanchulexiangmu《tiantangying》(paradise camp),xiangmuyou12zhangzhaopian、yigetuxiangyanjiudanganheyigedantongdaoshipinzucheng,lingganlaiziyumaolixuezhengahuia te awekotukuboshiyu1992nianzaiaokelantuoyiaotamajimeishuguan(auckland art gallery toi o tāmaki)fabiaodetiwei《hapuanideaitan:gaogengdemote——yigemaolirendeshijiao》(he tangi mo ha'apuani: gauguin's models – a māori perspective)dewenzhang,wenzhangzhongtaolunlehuajiagaogengshiruheguyijiangmotemiaohuidecixiongtongti、fuyouyiguoqingdiaode,jieshiletaduimāhu(xiangdangyudaxidituzhuwenhuazhongbeiguiweidisanxingbiede fa'afafine)demilian。
Yuki Kihara, Two Fa'afafine (After Gauguin) (2020). Hahnemühle fine art paper mounted on aluminium. 94 x 72 cm. © Yuki Kihara. Courtesy the artist and Milford Galleries, Aotearoa New Zealand
zuopinzhongxijuxingdebufenlaiyuanyumuyuanyoujizaisamoyaguankanfa'afafinexuanmeibisaidejingli,baokuojingzhidebujing、mirendelifuhebianzhuangxiudeng。yishujiarenwei,19shijixifangsheyingshipaishedesamoyarenyingxiangpubianqianghualexingbie、zhongzuhexingquxiangdekebanyinxiang,daozhifa'afafinebeixifangwenhuashiweijuyouyuanshixingbiehexingquxiangdemanzu。yishujiabaoluo·gaogeng(paul gauguin)gangdaodaxidishi,maolirenchaoxiaota,yinweitaliuzhezhangfaerjiangtashiweimāhū。gaogengshiyongsamoyawenhuazuoweisucaichuangzuo,ermuyuanyoujiyongyugaogengxiangsidefangshi,liyongtazai1891nianzhi1903nianjianfashubolinixiyaqijianchuangzuodehuazuozuolexiangfandeshiqing。zaizhanchudeshipinli,jiweifa'afafinerelieditaolunzhegaogengdehuazuo,tamenjibenshangconglaimeiyoutingshuoguozheiweihuajia。yishujiabiaoshi,gonggonglingyudefa'afafinezhaopiandaduoshiyoubairenjishisheyingshipaishede,tiantangyingxiangmuzeshiyaoniuzhuanzheiyixianxiang,zuopinyouyishujiatuanduihefa'afafineshequyitongchuangzuo,binghuizaidangdizhanlan。yishujiahaizaiyizhangzhaopianzhongjiangzijizhuangbanchenglegaogeng,yiqiudianfuyouyishibairenyishujiazhudaodeyishushijingdian。
Yuki Kihara, Paul Gauguin with a hat (After Gauguin) (2020). Hahnemühle fine art paper mounted on aluminium. 45 x 38 cm. © Yuki Kihara. Courtesy the artist and Milford Galleries, Aotearoa New Zealand
中国馆
3D projection mapping installation Streaming Stillness by Chinese artist Liu Jiayu at the China Pavilion at the 59th Venice Art Biennale Photo: Courtesy of Liu Jiayu
zhongguoguanyi“yuanjing”(meta-scape)zhuti,youxianrenzhongyangmeishuxueyuanmeishuguanguanzhangzhangzikangcezhan,canzhanchengyuanbaokuoyishujiaxulei、wangyuyang、liujiayuyijiatxiaozu(youzhongyangmeishuxueyuanyishujikejiyanjiuyuanyuqinghuadaxuenaoyuzhinengshiyanshizucheng),cezhanrenbiaoshi,“yuanjing”shouhuiyuyi“shi”weidaibiaodezhongguowenyichuantongzhongde“jing(jing)”deqifa,congmeijielilundedangdaixingjiaodu,jiang“jing”suochengxiandeyizhongshengtaihuoxitongxingxiang,duijieyudangxiade“ren—jishu—ziran”dejingkuang,bujinzaimanzhangdezhonghuawenmingyanjindelishizhong,yecongzhongguoxiandaihuadeneizaijingyanzhong,huiyingbenjieweinisishuangnianzhanzhutizhan“mengxiangzhiru”guanyu“renleishi”、“qurenleizhongxinhua”,yijifaxian“yigechongmankenengxingdeziyoushijie”dengdengxiangguandesixiang、guannianyuxingdong。
Le Sacre du printemps ©Zhengbo
erzaizhongguoguanzhiwai,canjiazhutizhandehaiyousanweilaizizhongguodeyishujia,tamenfenbieshilaizibeijing、xianjuxianggangdiqudezhengbo,laizishanghaideluyang,yijixianjubolinherineiwadelishuang。zhengbozaibencishuangnianzhanzhanchulezuopin《chunzhiji》(le sacre du printemps),cixiangmuyuecongliangnianqiankaishi,cezhanrenlikade·bogesitelun(rickard borgström)helibeika·shendineier(rebecca chentinell)yaoqingtalaidaoruidian,zaidangdishengtaixuejiadebangzhuxiakaochayipianyongyoujin600nianlishidegulaosonglin。erhoutamenyaoqinglewuminglaizisikandenaweiyabandaodenanwuzhe,zaihuangyezhongshejibingpaisheleyiduanwudao,shipindaozhideshijiaorangguanzhongmenkandaowuzhementoudizhudimian、shuangtuizaikongzhongbaidongdeyangzi,lingganyuanyuzhengbohuiyizhongduguodeyiduanhua“huoxushumuhewomenyiyang,tamendegenxijiuxiangwomendedanao”。zhengbocongzaoqishehuicanyushiyishuheduiyushaoshuquntideguanzhu,zhujianzhuanxiangchaoyuerenleizhongxinzhuyideshijiao,ru《juelian》zhongdejueleizhiwuhekuershengtaiguan。zhengbotongguojinhuhuangdandeshijiaoheqingjie,gulirenmencongqinggan、shentihejingshenshanglejierenyuziranzhijiandeguanxi。
Lu Yang Doku The Self, 2022, single channel 4K digital video, 36 min 04 sec, edition of 6
xianjushanghaideyishujialuyangzhanchuleshuzishipinzuopin《dushengdusi》(doku the self),dokushiluyangdeshuzihuashen,yeshiyigewuxingbiedehourenleishengmingxingshi,weilechuangzaochuzheigejiaose,luyangyukexuejia、3ddonghuashiheshuzijishurenyuanhezuo,yidongzuobuzhuodefangshizaixianyishujiabenrendemianbutezhenghebiaoqing。《dushengdusi》shidokuxiliezhongdediyibuxushixingdianying,yishujiajiangziji2020nianyicichengzuofeijishizhaxiandeshenmijingyantoushedaolezuopinzhong。
ÆTHER/Poor Objects ©Shuang Li
yishujialishuangcicizhanchudeshi2021niandezuopin《yitai》(æther/poor objects),zuopinyanxuzheyishujiaduiyurendezhutixingdefansi。lishuangcongtademeitiyanjiuzhongjiqulinggan,jiangrihuanshideyingxiangyutongchangyongyuzipaidehuanxingdengzuobi,baxunishijiehexianshishenghuozhongdetuxiangfuhaojianliqilianxi,bingfuyishixingpangbaihefuyoukongjiangandeqiyiyinxiao。
Vampires in Space, 2022. Courtesy of the artist, Galleria Umberto Di Marino and Foi Bonita a Festa.
ciwai,deguoguanduinacuizhengquanqijianduizhanguanjiajianhekuojiandeyinyu、aodiliguande“yuwangkongjian”、putaoyaguande《taikongxixuegui》、ruishiguandefeiqicailiaozaizaozhuangzhi、maertaguanzhongxinyanyidekalawaqiaohuazuo《shixizheshengyuehandezhanshou》、yidaliguantantaogongyexingshuaide《yezhilishihehuixingdemingyun》、baxiguanyishentiqiguanzuoweibiaodachufadiandepipanxingsikao、wukelanguantixianziyuankujieheyiqingjuandaidezhuangzhi《pibeizhiquan。aertazhishui》dengzuopinyegeyoudutekandian。
Gian Maria Tosatti,History of Night and Destiny of Comets(Storia della Notte e destino delle commete), Italian Pavilion at the Venice Biennale,2022,Courtesy of DGCC-MiC
cezhanrenalaimannixiezaizhanlandaoyanzhongdezheijuhuajieshilebencishuangnianzhandesikaoqingxiang:“xuduodangdaiyishujiazhengzaixiangxiangyizhonghourenleizhuangtai,tatiaozhanxiandaixifangduirenleidekanfa——youqishijiadingdebairennanxing“lixingren”depubianlixiang——zuoweiyuzhoudegudingzhongxinhewanwudehengliangbiaozhun。querdaizhideshi,yishujiamentichulewuzhongzhijiandexinlianmeng,yijiyukalindundefeifanshengwuwuyideduokong、hunhe、duoyangdeshengwusuojuzhudeshijie。”yishujiamenxishouleshidaideyoulv,bingyidutedefangshizhuanhuatamen。zhanlansihuzaigaosuwomen,womenshenghuodehuanjingfashengzhezhongzhongwenti,mianduiwufaquedingdeweilai,ruguowomenyiranxuanzezuoyigejijixingdongzhe,neimecunzaibenshenyenenggouchengzaifeifandeyiyihexiangshandeliliang。
参考资料:
How Simone Leigh’s Sculptures Centering Black Women Brought Her to the Venice Biennale,Alex Greenberger,ARTnews
Zineb Sedira’s Joyous French Pavilion Emerges as an Early Favorite at the Venice Biennale,Alex Greenberger,ARTnews
Fighting Forgetting, With a Venice Biennale Win,Farah Nayeri,New York Times
Who is Zineb Sedira, special mention of the jury for the French pavilion at the Venice Biennale? Ludovic Delalande,Numero
Francis Alÿs to Represent Belgium at the 59th Venice Biennale,David Zwirner
Pilvi Takala: 'for Close Watch, discomfort acts as a guiding feeling',In Conversation with Christina Li,OCULA
Yuki Kihara's Paradise Camp,In Conversation with Natalie King,OCULA
ZHENG BO THINKS PLANTS ARE MORE INTERESTING THAN PEOPLE,Oliver Giles,Zolima City Mag
Lu Yang: Doku: Digital Alaya,Jane Lombard Gallery
《2022年威尼斯双年展,各国展馆,设计师必看!》,景观周
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