同感地带 | Empathy Zone
展览 第二部分, 引进:
北京创作者: 段少锋 和 殷雅迪
华盛顿哥伦比亚特区创作者: 安东尼奥·迈克菲 和 大杉尚子
Exhibition Part II of II, Introducing:
Beijing Creators: Duan Shaofeng and Yin Yadi
D.C. Creators: Antonio McAfee and Naoko Wowsugi
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段少锋 Duan Shaofeng (北京 Beijing)
段少锋, 2013年毕业于中央美术学院人文学院艺术管理系, 现工作生活于北京。曾担任2014年AAC艺术中国评委, 获2020年度SAP艺术推动人物奖, 担任2020年青年艺术100特邀评委。迄今为止策划以及参与的展览有: “发现: 新青年影像展” (中央美术学院, 今日美术馆, 中央美术学院美术馆, 星空间, 2012), “没有天空的城市: 青年当代艺术展”(元典美术馆, 2013), “后沙峪时代看不见的影像” (炎黄艺术馆, 2014), “出柜: 一次驱魔仪式”(东京画廊, 2014), “观世界·世界观: 漳州国际当代艺术展”(漳州博物馆, 2017), “徐冰和他的学生们: 雁渡寒潭不留影”(苏州, 诚品生活, 2017), 2018 艺术北京公共艺术单元“行走在自然中的艺术”(北京, 北京农展馆, 2018), “没展 2018”(上海, 喜马拉雅美术馆), “兰之猗猗: 陈琦和他的学生们”(北京, 无忧艺术中心), “魔都蚁行志”(上海, 宝龙美术馆), “开合未来: “Undefined Future”, (武汉, 合美术馆, 2019)等展览。
Shaofeng Duan graduated from Central Academy of Fine Art in 2013 majoring in Humanity and Art Management. He currently lives and works in Beijing. He was a juror of Art Award of China (2014), a winner of the Art Personal Promotional Prize of Signature Art Prize China (2020), and a special guest juror of Artnova100 (2020). To date he has curated and participated in the following list of shows and exhibitions: Discover: Film Showcase of The New Generation (Central Academy of Art, Today Art Museum, Central Academy of Art Museum, Star Gallery, 2012). Hou Sha Yu Era: The Hidden Moving Image (Yan Huang Art Museum, 2014). Coming Out of the Cabinet (BTAP Tokyo Gallery, 2014). The Model of the World, Zhangzhou International Contemporary Art Exhibition (Zhangzhou Museum, 2017). Unspoken Understanding, the exhibition of Xu Bing, (Suzhou, Eslite Bookstore, 2017), Art Beijing Public Art: Art Park (National Agriculture Exhibition Center. 2018), Mei Exhibition 2018, (Shanghai Himalaya Art Center, 2018), Orchids in Heart, Chen Qi and his students (Eden Art), Crawling Ants: Chen Zhiguang (Shanghai Bao Long Museum, 2019), and Undefined Future (Wuhan, He Museum, 2019).
作品两则 Two Selected Works:
花家地: 单元房艺术项目 Hua Jia Di Biennial: The Apartment, 2016
2016年11月策展人段少锋在北京花家地小区租赁了一间普通的单元房用来进行单元房社区艺术项目, 这个艺术项目由菌丝艺术和自画廊赞助, 在北京花家地老居民楼做一个和社区相关的艺术实验, 每期邀请一位艺术家, 一周为一期, 由不同的年轻艺术家和艺术小组进行接力。前后举办三十四期艺术活动, 包括临时小组: 朝九晚五, 王恩来: 空中食宿, 高振鹏: 绿星大使馆, 吃瓜!吃瓜!第一届花家地双年展, 双非艺术中心: 画双飞, 秦观伟: 20天艺术家速成计划, 郭亚冠: 七宗罪, 张哲溢: 灯光寄养所, 曹久忆: 花家地民谣计划, 张立涛: 画立涛, 孙一钿: 啪啪啪, 赵延斌: 迎春等。在该50平米空间呈现的艺术项目尽可能和社区产生关系, 与单元房特殊的空间背景有联系。
In November 2016, curator Duan Shaofeng rented a residential apartment unit in Beijing Hua Jia Di housing complex to conduct a community art project. Hypha Art and Self Gallery sponsored this project. Using the old residential unit as a base, Duan conducted a community art experiment in Hua Jia Di District. Each week, an artist or an art group was invited to occupy this apartment unit and activate the space with their art practice. The experiment lasted 34 weeks and launched 34 week-long exhibitions: 9 To 5, Wang En Lai: AirBnB, Gao Zhen Peng: Green Star Embassy, Onlooking! Onlooking!, The 1st Hua Jia Di Biennial, Shuangfei Art Center, Qin Guan Wei, 20-day Artist Incubator, Guo Ya Guan: Sevin Sins, Zhang Zhe Yi: Light Day Care, Cao Jiu yi: Hua Jia Di Folk Music, Zhang Li Tao: Drawing Li Tao, Sun Yi Dian, and Pia Pia Pia, Zhao Tin Bin: Welcome Spring. The art projects selection formed nuanced dialogues with the particular spatial arrangement of the apartment unit, and built meaningful connections with the larger communities beyond the 50 square meters exhibition space.
展览 Andy’s Joke, 2019, AC Gallery
艺术史上最著名的“玩笑”事件之一, 是1917年Duchamp的《喷泉》, 杜尚为一个小便池命名, 并把名字签在小便池上, 作为艺术作品进入公众视野。1964年后喷泉被做成复制品, 在世界各大博物馆和美术馆展出。此外, 安迪·沃霍尔的“玩笑之作”在今天已经成了另外一种意义上的经典, 卡特兰的“玩笑”在今天看来依然不过时的绵里藏针, “玩笑”从来不胜枚举。” 本次展览邀请了26位艺术家为大家带来自己的“玩笑”作品。玩笑是温情, 玩笑是无奈, 玩笑是智慧, 玩笑也可能仅仅只是玩笑而已。这些“玩笑”的背后均引发了“何为艺术”的讨论, 而只要这个问题还在被讨论着, 艺术就仍有广阔的创作空间和无限的可能。这次AC Gallery 为观众带来了26个艺术家的“玩笑”作品, 玩笑的背后是什么？需要每个观众自己去解读。
Duchamp’s Fountain in 1917 was one of the most famous jokes in art history. He gave a title to a urinal and signed his name on it. Later this urinal appeared in front of the public as a work of art. Since 1964, replications of the fountain have exhibited at many world famous museums and galleries. While Andy Warhol’s joke has become a new classic, Cattlan’s joke also stayed relevant, and there are still countless other jokes in art history that are worth our time revisiting. Andy’s Joke invited 26 artists and their “jokes”. We make jokes out of warmth, vulnerability, wisdom, or perhaps purely just out of jokes. These jokes inspire discussions around the crucial question of “what is art”; as long as the discussion continues, there will still be endless possibilities and borderless dimensions for more art to be created and generated. This time, AC gallery has brought to the audience 26 artistic jokes. What lies behind these jokes? The audience will have to come up with their own answers.
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安东尼奥·迈克菲 Antonio McAfee (华盛顿哥伦比亚特区 D.C.)
Antonio McAfee 是一个成长和生活在巴尔的摩的摄影艺术家。他从美国华盛顿特区的Corcoran College of Art and Design艺术学院取得了摄影专业学士学位, 并从费城宾夕法尼亚大学取得了摄影艺术硕士学位。之后, 他又从南非约翰内斯堡的威特沃特斯兰德大学获得艺术及文化管理的博士学位。他近期艺术作品展出的机构包括: 沃尔特艺术博物馆, 马里兰大学, 巴尔的摩郡Albin O. Kuhn收藏馆, The Print Center 艺术中心, Elsewhere Museum博物馆, 巴尔的摩当代艺术馆等等。他是马里兰州洛克威尔市的VisArts艺术中心的驻地艺术家, 也曾受邀参加华盛顿的Wesley Theological Seminary艺术驻村项目, The Contemporary Museum Artist Retreat 驻地项目, Can Serrat艺术驻地项目(西班牙) , 和Vermont Studio Center艺术驻地项目等等。McAfee目前任教于Towson 大学, Loyola 大学, 马里兰艺术学院和美国大学(American University) 等。
Antonio McAfee is a photographer raised and based in Baltimore, MD. He received his BFA in Fine Art Photography from the Corcoran College of Art and Design and MFA from the University of Pennsylvania. He received a Post-Graduate Diploma in Art in Arts and Culture Management from the University of the Witwatersrand (Johannesburg, South Africa). Recent exhibition venues include Walters Art Museum, Kreeger Museum, The Print Center, the Institute of Contemporary Art in Baltimore, Academy Art Museum, and University of Maryland, Baltimore County’s Albin O. Kuhn Special Collections Gallery. Antonio is an Artist in Residence at Vis Arts (Rockville, MD), Vermont Studio Center, Can Serrat (Spain) and Wesley Theological Seminary (Washington, DC). McAfee is a professor at Towson University, Loyola University Maryland, Maryland Institute College of Art, and American University.
作品两则 Two Selected Works:
“主题和变化”系列 Theme and Variation Series, 2016–至今 ongoing
D’Angelo as Mary Magdalene | detail, 2016
丙烯酸材料, 着色剂, 彩色印刷 Acrylic medium, pigment ink, and pigment print | 40” x 100″
安装图 Installation view, 2018
该作品整体来看, 是一件黑白灰作为主色调的印刷综合材料艺术装置, 描绘的是一系列美国黑人音乐明星人像, 身体部分则由无数以肖像为主的摄影类感光印刷品通过重叠拼贴的方式构成。该系列作品涉及的音乐人包括D’Angleo, Sly Stone 等。他们的音乐创作方式对艺术家产生千丝万缕的影响, 包括有的音乐人习惯在狭小暗淡的空间中进行创作, 而不少歌曲中的歌词内容, 也唱出了对于黑人在美国生存状况的关注以及对黑人所受的不公待遇的批判。作品躯干部分的摄影素材则来自1900 年的一场在巴黎举办的The Exhibition of American Negroes (美国黑人展) 展览品的复刻印刷品。那次展览在当时引起了不少关于黑人工作, 生活和维护权益状况的探讨。艺术家通过将象征历史遗留议题的复刻相片拼构成身躯, 头部则是当代黑人精英的形象。从寓意历史厚重感的身躯自下而上到体现当下黑人精英形象的脸庞, 仿佛诉说着当下并非平白无故, 历史的渗透依旧存在。当下由历史构成, 少不了历史的影子。关于黑人和种族的讨论直到现在依旧不曾停止, 艺术家作为一名非裔, 用经典复制及移花接木的方式, 尝试营造一种新的语境和视觉叙事, 对黑人群体的过往和当下作着新的提问和思考。
Theme and Variation is a mixed media art installation series featuring large scale portraits of famous Black musicians. The artist used copies of Thomas Eskew historical studio portraits as building material and created the portraits through abstract collaging inspired by some of his favorite musicians and their music making. The source portraits, originally exhibited as part of Du Bois and Calloway’s 1900 Paris World Expo exhibition, highlighted many aspects of African Americans’ lives, including business enterprises, social life, and education. Through copying, transferring and collaging, the artist manipulated these historical images through disembodiment, attacks, fragmentation and abstraction. In the remade portraits, one could still see remnants of faces, noses and mouths from the historical figures. On top of the constructed bodies sits faces of iconic contemporary black Americans. Through the artist’s cultural lens, Theme and Variation outlines a contemporary landscape where Black Lives Matter movement and racial conflicts are still prominent and recontextualized it with a complicated history full of silenced, distorted and contradicting records. Even till today, these historical accounts are still engaged in imbalanced power dynamics, remaining unresolved, shaping every single aspect of our lives and tirelessly questioning the future that we as a whole society are heading towards.
当天堂在哀悼 When Heaven Mourned, 2018
丙烯材料及彩墨 Acrylic medium and pigment ink | 40″ x 72″(101.6cm x 182.8cm)
历史某种程度上塑造了当下, 美国的种族矛盾由来已久, 今年的多起黑人遭到不公正执法, 包括不久前发生在华盛顿的又一起黑人青年被警察枪杀的事件, 引发了大规模的游行和讨论。艺术家的另一件作品则是从其自身经历对相关事迹的思考。这件名叫 When Heaven Mourned “当天堂在哀悼” 的作品, 将象征安宁的蓝花楹与艺术家身边两位死于枪击的表兄弟的想象一起呈现于展墙上, 无数的花与相对少量的肖像照片交织着, 组合而成的整体也像是一朵能够奉送的带着些希望和期许的鲜花。这件作品是艺术家本人从自己个人生活的角度出发, 结合着黑人受枪击和不公正对待的事件在美国时有发生的情况, 以及部分嘻哈音乐中对于枪击事件的思考等等, 来对枪支暴力和执法争议等议题的反思, 也表达对于正义和平等的呼吁。
Racial conflict has a long history in the US. This history has largely shaped the present. This year, we have already seen too many cases of police brutality against Black Americans. The recent case of a black youth being shot and killed by the police in DC has brought the ongoing Black Lives Matter movements to a new climax. McAfee’s When Heaven Mourned provides a powerful reflection on this topic inspired by his personal experience. Coupling jacaranda flowers and portraits of two cousins who passed away from gun violence, the artist created a large floral shaped wall-mount installation. This flower grew out of the artist’s lived experience, influences from Hip Hop lyrics, and social contexts of systemic oppressions against Black Americans. Despite the trauma and bitterness, the artist has dedicated this blooming flower to a future of hope and tranquility.
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殷雅迪 Yin Yadi (北京 Beijing)
殷雅迪, 1993年出生于湖北武汉, 毕业于湖北美术学院油画系。现在是一名拥有三年画廊行业经验的艺术从业人员, 写作者。经历SPURS画廊的更名和线上, 线下业务的拓展, 主要负责国内, 国际的媒体推广和画廊艺术家, 展览档案的编写。此前在非营利艺术机构包括余德耀美术馆 (YUZ Museum), 激发研究所 (IFP), 候鸟空间(Migrant Bird Space) 和艺术媒体空艺术 (Art Sky) 先后担任过商店销售员, 美术馆导览员, 艺术家助理, 空间主理人和记者, 编辑等不同角色。2016年从上海移居北京, 保持着每年一次的搬家频率。在与艺术相关的实践中一直尝试以多维度视角丰富其写作爱好, 至今积累百余篇不同体裁篇幅的文字, 散见于杂志及媒体包括: 《T》杂志中文版, 《卷宗Wallpaper＊》, 《澎湃新闻,《艺术与设计, 《798艺术汇, 《空艺术》等。于2016年创建个人微信平台“吸音力”, 持续发布泛文化类原创文章。
Yin Yadi, born in 1993, holds her BFA in oil painting from Hubei Institute of Fine Arts. She has been working in galleries for more than three years. She also works as an art writer for years. Having experienced the renaming of SPURS Gallery and its expansion of off-line and online business, Yin is primarily in charge of domestic and international media promotion and the composition of the archives of artists and exhibitions. Previously, she worked as shop assistant, gallery guide, artist’s assistant, support crew in art galleries, journalist and editor in non-profit art institutions including: YUZ Museum, IFP, Migrant Bird Space and Artsky. She moved from Shanghai to Beijing in 2016, and since then she has kept once moving a year across the city. In her art practice, she tries to diversify her passion for writing from multiple points of view. So far, over a hundred of her articles have been published on different art platforms, including magazines and other media, namely T Magazine China, 卷宗Wallpaper*, The Paper, Art and Design, 798 Art and Artsky. She also runs her own Wechat art platform “monAmie24” which keeps publishing original articles about art and pan-culture.
殷雅迪的自述 Self-statement (节选 Excerpt)
机缘巧合之下, 毕业后在上海的舅妈推荐我去面试一份市场营销的工作, 并且可以先住她家, 稳定后再考虑租房, 因为实在没什么成本, 我几乎想也没想, 拖着行李就去了。结束了安排在上午的面试, 当天下午我在上海M50桃浦创意园的一家装饰画供应商那里找到一份初级油画技师的工作, 三个月试用期满就没有再续签。也是那时候, 让我对外来务工的城镇青年第一次有了概念。
在此期间, 我租住过上海老城区的群租房, 体验过十几个人蜷缩在同一片屋檐下, 以隔断墙围出生活余地的生活, 虽然短暂, 我也并不觉得痛苦, 全然当做争取人生初自由的体验: 在被周围楼房围绕的租住房公共平台上, 把衣服支在上海的黄梅天里; 听身边的同事说起他们的父母作为一代上海移民, 依然在平均收入水平线上挣扎的生活状态…
Purely by accident, after graduating from college, my aunt who lived in Shanghai recommended me to interview for a job position in marketing. She was kind enough to offer her own place as my temporary shelter before I could gain some stability. I immediately agreed to her suggestion and arrived in Shanghai with only a suitcase. I interviewed for the marketing position in the morning. That same afternoon, I secured a junior painting assistant position with a decorative painting vendor located in the M50 District. My contract was not renewed when the 3-month trial period was up. At that moment, I realized what it was like to be a migrant worker.
Back then, I rented a small “room” in a group rental apartment in Shanghai’s old district. Under the same roof lived more than a dozen people; each person’s private living space was defined by room dividers. I didn’t complain as I knew it was an important first step for me towards an independent, self-sustaining adulthood. I was always impressed by how many tall buildings there were surrounding my little group rental apartment. I still remember hanging up my laundry outside on the small public balcony in Shanghai’s drizzling weather in late spring. Sometimes my colleagues would tell me stories about their parents who were first generation Shanghai “immigrants”. Earning only median income, till today they still struggle with expensive bills that come with this glamorous city life.
“颜磊: 狂喜加剂量” 开幕现场, SPURS Gallery, 2019, 右: 颜磊, 中: 殷雅迪
Yadi (center), is talking with the artist, Yan Lei (right), at the reception of his exhibition at SPURS Gallery, 2019
美术馆商店是我在余德耀美术馆实习期间工作最久的部门, 它向外敞开, 从这里可以看到馆长与工作团队开会, 接待艺术家, 策展人, 基金会等来自艺术界的朋友, 同仁们, 看到西岸政府团队前来参观, 看到美术馆每日的人流数据, 看到美术馆的安保系统和餐厅服务…它们作为一个有机体进行每日的运转。如今回想起来, 还是感恩这段时间的种种遇见和收获。
在结束余德耀美术馆的实习之后, 我gap了半年时间, 当时交往的男友鼓励我申请一个公众号, 那是2016年, 做公众号成了企业的必备宣传途经, 成为“自媒体”几乎等于半创业了。但我只是开始写写喜欢的艺术家, 写写身边的朋友, 要感谢当时朋友们的转发, 让我开始把文字表达当作一件正经事对待, 在此之前, 它只是一种个人习惯。同时这个号也帮助我顺利度过从上海到北京的辗转, 并找到在北京的第一份和第二份工作, 分别是当时还在黑芝麻胡同的独立艺术空间“激发研究所 (IFP)” (现已迁至798艺术区) 和内容调性趋于稳定的新媒体“空艺术”。从这时候开始, 才称得上是个人真正意义上和这个行业交手, 遇到各式各样携不同观点, 不同经历背景的人们, 接触了不少艺术家和同行, 踏实走过了毕业后心态经历巨大变化的几个阶段。
I spent the most time working at the Museum Store during my internship with Yuz Museum Shanghai. The store was public facing, and I could see the museum director meeting with the exhibition team, attending to visiting artists, curators, foundation representatives and other art professionals. I witnessed government officials come for a tour. I monitored the foot traffic of everyday museum visitors. I observed how security work unfolded and how services were offered in the museum cafeteria… The museum operates like an organic being with all these smaller moving parts. Recalling that experience, I feel grateful for the eye opening experience.
After the internship, I went on a 6-month gap period. My boyfriend at the time encouraged me to open up a WeChat public platform. It was the year of 2016 when the concept of “self-media” was first gaining traction; people gradually recognized its importance for business promotion. Running a WeChat public platform almost felt like starting up a business. At the beginning, I was only writing about the artists I liked and stories of my friends. It was more like a personal hobby. As more and more friends began to share my articles, I started to treat my writings more seriously. This WeChat public platform also helped with my transition from Shanghai to Beijing: it helped me secure my first and second jobs in Beijing. My first position was with IFP, an independent art space located at Heizhima Hutong (IFP relocated to 798 later). After that I was offered a job at Artsky(空艺术) , a less-edgy independent art organization that focuses on new media. I would say these were my first professional encounters with the field of contemporary art.
激发研究所旧址内景(黑芝麻胡同13号)
The old IFP space at 13 Black Sesame Hutong in Beijing
在画廊的工作经历前后也有近三年的时间, 亲历艺术家的推广, 和销售团队的密切合作, 看到艺术家和画廊主, 藏家之间真实的互动, 对我个人来说是一个去魅的过程, 之前种种对于“社会”的想象, 对于“真实世界”的想象, 都在这段时间一点一点剥离, 现在我更爱“真实的世界”, 哪怕我和这个“真实的世界”之间还有距离, 现在的我将发生的一切都视作“真实世界”的一部分, 接受一切是我现在最大的乐趣之一。
对我而言, 在无论北京还是上海的生活, “中心”依旧是一种想象。我非常认同“剩余”的概念, 认同文化是从属于社会生产的总体价值经消化后“多”出来的部分, 其价值建立在“溢出”之上, 对立面是“过剩”, 它们构成了同一件事物的不同面向。我清楚艺术行业从业人员的普遍薪资水平, 也深知不少人认为这个行业吃的是青春饭, 但我非常不认同将之视作一块孤岛, 或仅仅从内部将其孤立地看待—它只是现代社会行业细分后的产物, 如何深耕是每个人自己的事情。
I have been working at this gallery for about three years now. I’ve had first hand experience of promoting and distributing artists’ works. I have closely worked with our sales team. I have witnessed real interactions between artists and gallery owners and collectors. It has been a demystifying process for me personally, as my imaginations of “society” and “the real world” become more and more grounded in “reality”. I am learning to embrace and enjoy this reality, even though there is still distance between us. Trying to see everything as part of this “reality” and accepting its existence has become my exercise and brings me a lot of fun.
To me, either in Beijing in Shanghai, the concept of “centric” is still an imagined concept. I highly identify with the idea of “surplus” — I believe that culture and art is the surplus value of GDP. Its values are grounded in the image of “overflowing” rather than “excess’, which constitute different aspects of the same thing. I know the average income level of art professionals and am well aware that many people consider this NOT as a sustainable way of living. However, I disagree with treating art professionals as an isolated island or field — it is merely a result of professional segmentation, and how to manage development, sustainability and success is every person’s own business once they’ve chosen to enter this field.
最后借用公众号的介绍结束这段比较坦诚地自白: “作为差异的暗涌积极拥抱交融的洪流, 我们相信每一个个体的真实现状, 都是全球图景的重要组成部分。”
Bringing together our own individual flow of energy, we make waves of integration and exchange. Each individual’s true and honest way of living represents an important and unique stroke on the global picture.
“王加加; 锃光瓦亮”, SPURS Gallery, 2020, 开幕现场
The opening reception for the artist, Wang Jiajia, at SPURS Gallery, 2020
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大杉尚子 Naoko Wowsugi (华盛顿哥伦比亚特区 D.C.)
大杉尚子,一位有着日本和韩国血统的女艺术家, 目前工作生活于美国首都华盛顿 DC。通过将视觉艺术, 地区研究以及社区介入实践相结合, 大杉的作品强调和强化日常性, 社区行和人际间的身份议题。大杉从弗吉尼亚联邦大学取得艺术硕士学位, 从堪萨斯城艺术学院以及大阪艺术大学分别取得艺术学士学位。她近期的代表性展览有: “Fungus Among Us”, Redux 当代艺术中心, 查尔斯顿, 南卡罗来纳州 (2019); “Open Engagement”, 纽约昆斯博物馆, 昆斯, 纽约州 (2018); “Ae Kai: A Culture Lab on Convergence“, 史密森学会亚太美国人中心, 火奴鲁鲁, 夏威夷州 (2017); “The Outwin: American Portraiture Today“, 史密森学会肖像画廊, 华盛顿特区 (2016) 等等。
Naoko Wowsugi, an artist of Korean-Japanese descent, based in Washington, D.C. Using combined practices of visual art, local research, and community participation, Wowsugi’s projects highlight and fortify everyday communal and interpersonal identities. Wowsugi received an MFA from Virginia Commonwealth University and a BFA from both the Kansas City Art Institute and Osaka University of Arts in Japan. Notable recent exhibitions and talks include“Fungus Among Us” at Redux Contemporary Art Center, Charleston, SC (2019), “Open Engagement” at Queens Museum, Queens, NY (2018), “Ae Kai: A Culture Lab on Convergence,” presented by the Smithsonian Asian Pacific American Center in Honolulu, HI (2017), “The Outwin: American Portraiture Today,” at the Smithsonian National Portrait Gallery Washington, DC (2016).
作品两则 Two Selected Works:
持续自然的生长 Permacounterculture, 2016
项目举办地: 汉密尔顿画廊, 美国华盛顿特
Permacounterculture took place at the Hamiltonian Gallery, D.C.
(Photography by Kristina Gabrielle)
展览现场种植着华盛顿DC当地的一种芽草, 朋克音乐使得大家相聚在一起歌唱, 欢笑和跳跃, 在活动过程中人们呼出的二氧化碳, 加上展览现场的灯光, 以及植物自身的光合作用等的协同效应, 使得现场的芽草能够自然地生长, 而植物的叶子又被用来榨取带有营养的植物汁液, 并通过饮用入体给予享受朋克音乐的人以身体运动所需的能量补给。
该作品的灵感来自于生态学概念 “permaculture,” 即以不消耗和破坏自然的方式持续制造食物和提供能量。该词汇所指代的特点很多时候是绿色自然的并带有内部互助性质的 (或者构成内部有机循环的) 自我补给和社区性准则。作品 “Permacounterculture” 融合了有关华盛顿特区当地的朋克音乐, 城市种植业, 以及多元的社区实际在地情况等不同元素, 来倡导和推广在华盛顿特区这个正在迅速贵族化和士绅化 地区的“Food Justice” 和社区文化的传承和发扬等议题。这次的艺术项目对本地文化之间的可联结处进行了分类, 继而通过考察和挖掘历史底蕴和重新振兴的潜力, 来鼓励, 传达和发挥出社区积极的潜在力量和激情。作品尝试寻找一种动势,一种大家通过免费的芽草汁开怀畅饮的状态。这种状态使得音乐表演者, 现场观众以及更广大社区同胞都相聚, 或者说凝聚在一起, 并且充满了不竭的能量和生机。
Taking its namesake from the ecological notion of ‘permaculture,’ characterized by its reciprocal self-sufficiency and community ethics, Permacounterculture synthesized DC punk music, urban farming, and diverse communities to advocate for food justice in rapidly-gentrifying Washington, D.C. The project catalyzed points of connection between local cultures to convey the strength of community through history and potential for regrowth. Permacounterculture finds its momentum once the wheatgrass is juiced into free shots that energize the performers, the audience, and the wider DC community as a whole.
鲜味发展中心 The Umami Taste Development Center, 2018
纽约州奥斯布瑞公园
The Umami Taste Development Center took place at Asbury Park, NJ
(Photography by Ashley Rosas)
Umami (/uˈmɑːmi/)(鲜味) 是五种基本味道之一, 在甜, 酸, 咸以及苦之后。在纽约州 奥斯布瑞 公园的 “鲜味发展中心”, 参与者会接受 “鲜味训练”。在训练中, 他们会尝试五种不同的鲜味汤。食材来自于本地的生态系统, 如番茄, 海草, 蘑菇, 龙虾, 而汤则由这些食材按不同程度和比例的混合而成。由艺术家组织的品鉴专家团引导观众尽可能地在品味鲜汤的同时, 进行冥想, 并分享有关这些食物的故事, 相关故事主题涉及“食品/粮食不公”, “食品/口粮无安全性保障”, 以及 “(食物)对生态环境的影响”。通过刺激参与者的味蕾和在参与过程中完成的临时感悟, 参与者们将集中注意力, 并联动其它的感官系统, 从而打开一种思考和看待世界的新方法。食物的各种味道往往之能够与生活和工作中的百味杂成相互比拟, 生活在如今快节奏的都市中, 不正像是在时刻品味着生活中的“酸甜苦辣“吗？
Umami (/uːmaːmi/) is one of the five basic tastes, after sweet, sour, salty, and bitter. At The Umami Taste Development Center in Asbury Park, NJ, participants received ‘Umami training’ by sampling five different umami broths sourced from the local ecology, including, tomato, seaweed, mushroom, lobster, and finally, a mixture of all. Umami Gurus, including an activist, a yogi, a chief, and a farmer from the local community, guided the group through a meditation and sharing stories of food-injustice, food-insecurity, and environmental impact at large. By stimulating participants’ taste buds and epiphanic realizations, participants channeled other senses and opened new avenues of appreciation for the universe. Everyday we encounter a variety of tastes through consuming food, which can be compared to the diverse “tastes” that we have to pick up and swallow from different occasions of life and work. Living in fast-paced metropolitans, what are your sweet, sour, salty, bitter, and umami moments?
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