© X Museum 2022

 


展览现场 Installation Views
关于展览 About The Exhibition
关于艺术家 About the Artist  


X美术馆于2021年12月19日至2022年4月5日呈现展览“安东尼奥·奥巴:寓言”。作为巴西艺术家安东尼奥·奥巴在亚洲的首次个展,展览将通过包括布面油画、纸本绘画及装置在内的二十余件作品,探究艺术家对殖民主义和身份认同的长期关注。

X Museum is delighted to present 'Antonio Obá: Fables' , the first solo exhibition in Asia by the acclaimed Brazilian artist Antonio Obá. Running from December 19th, 2021 until March 20th, 2022, the exhibition will showcase a body of works, including oil on canvas, ink on paper and installation, which illuminate the artist’s ongoing exploration of colonial history and identity.


安东尼奥·奥巴的作品研究了巴西文化建构中所产生的影响和存在的矛盾。他的近期实践以种族偏见、宗教信仰、家庭记忆为线索,对巴西历史与文化中极具殖民意味的标志性事件进行回溯与反思,试图讨论历史与社会因素如何建构并解构个人身份,以及微观叙事同宏观意识形态如何超脱时空、种族,从而相互渗透、发展、衍变。在奥巴的新系列作品中,西方犹太基督教传统中的象征主义意象与在南美因黑奴历史而孕育的同步宗教元素得以糅合,使殖民者形象与非裔离散文化虚实交错地合为一体。藉由这些纷繁的符号引用与超现实的意象重组,奥巴将复杂沉重的殖民历史转译为直观明了的视觉陈述,以揭示西方殖民主义的共有弊病:权力的不平等与政治的不透明。

The artwork of Antonio Obá investigates the relationships and contradictions within Brazil’s cultural heritage. Taking ethnic prejudice, religiosity, eroticism, and family memories as clues, Obá’s most recent practice revisits and reflects on landmark events in Brazilian history and culture. It examines colonial implications and addresses the ways in which historical and social factors can both construct and deconstruct personal identity, as well as exploring how individual personas and collective ideologies can transgress the boundaries of time, space and race, thus intricating, interpenetrating and infusing with each other. In the artist’s new body of works, symbolic imagery from the western Judeo-Christian tradition is cross-pollinated with syncretic religious elements nurtured in South America through the history of black slavery, connecting colonial figures and diasporic Afro-descendant cultures in a fusion of reality and fiction. Through a myriad of symbolic references and surreal reconstructions of imagery, Obá translates the complexities of an onerous colonial history into intuitionistic visual statements that unveil the universal wrongs of colonialism from ancient times to the present: the inequality of power and the opacity of politics.


身体作为艺术家探索殖民主义与个人身份的主要对象,贯穿了安东尼奥·奥巴的创作实践。从布面油画到纸本水墨,从装置到表演,奥巴视身体为一种坚持存在的抵抗方式,将或具象或升华的身体证据,在神性与禁忌、历史与传统所勾勒的叙事中铺陈开来。奥巴关注跨种族的、黑人的身体——被殖民主义利用且抹去的身体。这些在殖民历史中不自由的劳动商品,在其进入并根植于南美大陆的过程中,成为了身份辑合和文化离散的承载者。奥巴的创作试图展现肉身的转瞬即逝如何被书写成为霸权主义的历史,以及人的存在如何超越人类身体、记忆和历史的界限,一旦被触发便无法隐匿。

In exploring the tensions between colonial history and personal identity, the body is the central subject for Antonio Obá’s practice; the inquiries into the body pervades the multiple mediums of the artist’s work. From oil on canvas to ink on paper, from installation to performance, Obá treats the body as a gesture of resistance that asserts its existence in the history; he exhibits the evidence of the body, either figurative or subliminal, in a narrative demarcated by rituals and prohibitions, histories and traditions. Obá focuses on the miscegenated, black body — the body that was exploited, abused and overlooked by colonialism. These bodies, which were mere commodities of labour and captives, became bearers of a unique, syncretic identity; enslaved in the colonial past, they served as inheritors of a diasporic culture as they integrated into and became established in the South American continent. Obá’s compositions seek to unveil the way in which the transience of the corporeal is written as a history of hegemony, and how human existence transcends the boundaries of body, memory and history, and ultimately becomes inextinguishable once ignited.


安东尼奥·奥巴的创作通过对过去与回忆的重访,以唤醒身体中回荡的、超越时间性的语言。展览标题“寓言”象征着艺术家对自我梳理与书写过程的一次总结:“寓言”中的每件作品都喻示着一种关乎道德的诉说和思考;在这其中,历史成为了一种寓言式的现实。奥巴将自我民族志的强调作为对霸权主义的抵抗,它诗意地揭开了不同主体性的矛盾,缝合起过去与当下,通过启动一场对话的、织构的故事讲述,来回应什么是被殖民的身体、什么是错杂的黑人身体。展览中的作品均以直接或间接的方式重现着殖民过往中的人和事,在对身份起源的探寻之中,带给人们如同寓言般超验的、象征性的道德感知与情感共鸣。

By revisiting memories of the past, Antonio Obá’s work evokes a language that reverberates in the body and transcends the temporal. The title of the exhibition, 'Fables' , expresses the artist's journey of self-referencing and writing: each work in 'Fables' serves as a metaphor for a moral statement or reflection, in which history becomes an allegorical reality. Obá’s spotlight on autoethnography as a counteraction to hegemony poetically unravels the contradictions of different subjectivities, connecting the past and the present, by initiating a dialogue and weaving a polyphonic narrative that responds to the essential understanding of inhabiting in a colonised body and inhabiting in a miscegenated, black body. The oeuvre of this exhibition recreates, directly or indirectly, individuals and incidents from the colonial past; like fables, they bring a transcendental, archetypal, symbolic moral perception and emotional resonance in the search for the origins of identity.


关于艺术家 About the Artist

安东尼奥·奥巴(生于1983年,塞兰蒂亚),现生活并工作于巴西利亚。

安东尼奥·奥巴的作品研究了巴西文化建构中所产生的影响和存在的矛盾,并由此引发对民族身份的抵抗和反思。奥巴将巴西文化中的象征符号作为种族和政治身份的影射,通过雕塑、绘画、装置和表演等媒介反思标志性的历史事件和宗教主题。

安东尼奥·奥巴的近期个展举办于Mendes Wood DM 画廊(布鲁塞尔,2021;圣保罗,2019;纽约,2018)。他的作品参加过诸多大型机构的群展、双年展,包括巴黎皮诺收藏博物馆(巴黎,2021);蒙彼利埃当代艺术博物馆(蒙彼利埃,2020);第三十六届巴西艺术全景展(圣保罗,2019);圣保罗艺术博物馆(圣保罗,2018);大竹富江艺术中心(圣保罗,2018);里约艺术博物馆(里约热内卢,2018);PIPA当代艺术奖(里约热内卢,2017)等。

Antonio Obá (Ceilândia, 1983) lives and works in Brasília.

Antonio Obá investigates the influence and contradictions within the cultural construction of Brazil, giving rise to an act of resistance and reflection on the idea of national identity. Obá utilizes icons present in Brazilian culture as allusions to racial and political identity, these iconic historical and sometimes religious subjects are explored within his sculpture, painting, installations, and performance.

Antonio Obá’s recent solo exhibitions are held at Mendes Wood DM (Brussels, 2021; São Paulo, 2019; New York, 2018). His works have been included in group exhibitions such as TUYMANS – CAHN – OBA, Bourse de Commerce – Pinault Collection, Paris (2021); Possédé·e·s, MO.CO, Montpellier (2020); 36º Panorama da Arte Brasileira, MAM, São Paulo (2019); Histórias Afro-Atlânticas, MASP / Tomie Ohtake, São Paulo (2018); Arte Democracia Utopia - quem não luta tá morto, MAR, Rio de Janeiro (2018); Pipa Prize 2017, Museu de Arte Moderna, Rio de Janeiro (2017).

 

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