© X Museum 2022

 


展览现场 Installation Views
关于展览 About The Exhibition
参展艺术家 About The Artists
关于策展人 About The Curators
 

X美术馆欣然宣布于2021年12月19日至2022年3月20日于美术馆的1-4和9号展厅带来展览“无尽的服装”。“无尽的服装”是一个持续进行中的,关于亚洲时尚生产的研究型展览项目。本次展览为该项目的第二篇章。展览涵盖了摄影、影像、服装、时尚物品以及装置等多种媒介。该展览是策展人与来自全球各地的艺术家、设计师、摄影师和作家等多样身份的创作者之间数年研究与合作的成果。

X Museum is pleased to announce the opening of ‘The Endless Garment’, the second chapter of the ongoing research and exhibition project on Asian fashion production. The exhibition will run from December 19th, 2021 through March 20th, 2022 at Gallery 1-4 and 9 of the museum. Encompassing photographs, videos, garments, fashion objects, and installations, the exhibition is the culmination of several years of collaboration between the curators and a wide network of artists, designers, photographers, and writers from over a dozen countries.


“无尽的服装”关注中国南海沿岸的地区和国家,项目汇集了来自大中华地区、东南亚及上述地域的全球散居群体,这些当代文化生产者将研究和探讨“亚洲”时尚的相关文化叙事,以及它如何被代表并且建立成一个体系。展览探讨了在时尚的全球供应链中,从街头、工厂、工坊到印刷出版和零售等不同地点发生的自我时尚化和社群时尚化。跨越领域、地域、学科和系统,“无尽的服装”勾勒出新一代时尚生产者的实践,他们将时尚看作为一个文化、社会和经济体系,身处其中并且批判性地进行回应。

With a particular focus on the regions and nations bordering the South China Sea, ‘The Endless Garment’ brings together a broad group of contemporary cultural producers from Greater China, South East Asia, and their global diasporas to study and contest the ways that ‘Asian’ fashion is represented as a system and cultural narrative. The exhibition explores the fashioning of selves and communities in a variety of sites within fashion’s global supply chain, from street, factory, and workshop to print publishing and retail. Crossing spheres, geographies, disciplines, and systems, the ‘The Endless Garment’ outlines a new generation of practices who inhabit and critically respond to fashion as a cultural, social, and economic system.


展览的第二篇章从“无尽的服装:研究站”(2021年3月至5月)中所展开的多条线索出发,通过一系列艺术作品和装置,其中包括五个新的委任项目,深入探讨“亚洲”时尚生产的异质性内涵。展览聚焦于商品的生产、流通和交易的时刻:从古老的泰国靛蓝染色技术到纽约坚尼街的山寨手提包商贩。展览中的艺术家将我们从葡萄牙的家庭服装店带到开曼群岛的茅草编织工坊,这些具有象征性意义的时尚商品和生产场所往往携带着关乎于移民、文化、社群和亲眷关系的历史。研究亚洲服装制造史即等同于研究全球化世界的基础网络:从前殖民时期在亚洲进行的纺织品贸易到20世纪末的中国南方被渲染为“世界工厂”,大量的物质基础和社会线索通过时尚将东南亚和中国与欧洲、西非和北美联系起来。这些众多的交叉点一直延伸到现在:以互联网为先的风格实践和侨民网络持续在“亚洲”与非“亚洲”的定义之间流转,为时尚生产增添新的分布模式。而这些模式则成为具有争议性的模糊概念,无论是在香港的商场中、马尼拉的纺织厂内、还是鹿特丹的网购平台上,这些模式都侵蚀于全球消费文化的狂热商品链中。

Departing from multiple threads developed in 'The Endless Garment: Research Station’ (March-May, 2021), the second chapter of the exhibition dives deeper into the heterogenous connotations of ‘Asian’ fashion production through a range of artworks and installations, including 5 new commissions. The exhibition zooms in on moments of commodity production and exchange, from Thailand’s oldest indigo dyeing techniques to Shanzhai handbag vendors on New York’s Canal Street. Bringing us from family-run clothing stores in Portugal to thatch weaving workshops in The Cayman Islands, the artists in the exhibition pay attention to the emblematic nature of fashion commodities, which often carry histories of migration, conflict, community, and kinship. To study the history of Asian garment manufacturing is to study the foundational network of the globalized world: from the earliest pre-colonial textile trades within Asia to the rendering of Southern China as ‘the world’s factory’ in the late 20th century, boundless material and social threads connect South East Asia and China to Europe, West Africa, and North America through fashion. These numerous crossings extend into the present, where digital-first style practices and diaspora networks continue to elaborate on distributed modes of fashion production that may or may not be identified as ‘Asian’, a polemically interwoven concept that itself begins to fray inside the frenzied commodity chain of global consumer culture – be it in malls in Hong Kong, textile mills in Manila, or online shopping out of Rotterdam.

展览的核心是对“中国性”以及“亚洲性”的探究,不论对于本土还是海外从业者而言,此种“中国性”和“亚洲性”在他们的作品中都表现为一种美学符号。展览中的艺术家与传统的、甚至陈腐的亚洲形象相抗衡,以复杂而具有批判性的方式来处理我们与“遗产”风格化之间的关系。此外,展览中的作品探讨了无论是作为起源地还是灵感起点的“亚洲”时尚化,如何在家乡与异乡、现实与幻想、图像与产品之间循环往复。在西方,中国性和亚洲性往往被扁平化为一个“外来”的整体意象,而展览中的艺术家通过作品对此种文化同质化进行干预。他们通过物品和图像,对亚洲时尚生产和亚洲时尚性在欧洲、英国和美国社会中所处于的——既迷恋又贬低的矛盾地位提出质疑。

At the heart of the exhibition is an inquiry into ‘Chineseness’ and ‘Asianess’ as they manifest as aesthetic signifiers in the work of both local and diaspora practitioners. Contending with traditional and even stereotypical images of Asia, the artists in the exhibition articulate the complex and critical ways we may deal with ‘heritage’ as style, and how the fashioning of Asia (as a place or idea) happens as a complicated feedback loop between home and away, reality and fantasy, image and product. In the West, Chineseness and Asianness are often flattened into one totalizing image of ‘foreignness’, and several artists in the show work to intervene in such cultural homogenization. By way of objects and images, the exhibition contests the ambivalent place of Asian fashion production and Asian fashionability in Europe, the United Kingdom, and America – at once fetishized and disparaged.


这些主题也构成了最新一期时尚评论杂志《Viscose》的基础,该杂志由X美术馆和挪威奥斯陆的国际研究图书馆共同出版。在“亚洲”这一开放性主题下,从个人到跨国,本期杂志考察了以前未曾探索过的亚洲时尚历史,探索在主流时尚话语中成为盲点的亚洲时尚。本期杂志由Jeppe Ugelvig和Cheuk NG共同编辑,收录了来自20多个国家和地区的写作者(包括数位参展艺术家)的15个全新委任的文本和项目。这期杂志将于2022年春季在全球发行,并可在X美术馆购买。

These themes also form the basis of the newest issue of Viscose, the journal for fashion criticism, co-published by X Museum and the Library for International Research in Oslo, Norway. Under the open-ended theme of ‘Asias’, the issue tackles previously unexplored Asian fashion histories ranging from the personal to the transnational, and explores how Asia remains a blindspot in dominant fashion discourse. The issue features over 15 newly commissioned texts and projects by contributors (including several of the exhibiting artists) from more than 20 countries and regions, and is co-edited by Jeppe Ugelvig and Cheuk NG. The issue will be out globally, and available for purchase at X Museum in Spring 2022.


参展艺术家 Artists

A Maior
A Sai Ta
Korakrit Arunanondchai 寇拉克里·阿让诺度才
CFGNY(Daniel Chew 赵立豪,Ten Izu 伊豆小青,Tin Nguyen 阮天,Kirsten Kilponen 克斯汀·可普婻)
Carl Jan Cruz 卡尔·让·科鲁兹
feyfey WORLDWIDE 全世界飞飞
Hu Yinping 胡尹萍
Philip Huang 菲利普·黄
Ma Hailun 马海伦
Hanna Moon 汉娜·穆恩
Joyce NG 伍载诗
PZtoday 今天PZ
SAMUEL GUÌ YANG
Shanzhai Lyric 山寨歌词
Sung Tieu 萧崇
Troi Oi(Nhu Duong 如杨,Sung Tieu 萧崇)
Evelyn Taocheng Wang 王伊芙苓韬程


关于策展人 About Curators

耶培·乌尔维(生于1993年)是一位常驻纽约的策展人和评论家。他著有《时尚作品1993-2018:时尚艺术25年》,Damiani出版社2020年出版。近期策划的展览包括2020年在哥本哈根夏洛特堡美术馆举办的“追捕女巫”(Witch Hunt),以及2019年在香港大馆举办的“幽灵维面:电驭叛客在未来之年”(Phantom Plane: Cyberpunk in the Year of the Future)。他的写作常载于《Spike》、《Frieze》,同时他也是时尚评论杂志《Viscose》的创始主编。

Jeppe Ugelvig (b. 1993) is a curator and critic based in New York. He is the author of Fashion Work 1993-2018: 25 Years of Art in Fashion, published in 2020 by Damiani. Recent curated exhibitions include ‘Witch Hunt’ at Kunsthal Charlottenborg in Copenhagen in 2020, and ‘Phantom Plane: Cyberpunk in the Year of the Future’ at Tai Kwun, Hong Kong, in 2019. His writing appears frequently in Spike and frieze, and he is the founding editor-in-chief of Viscose, a journal for fashion criticism.


吴冬雪(生于1993年),现任北京X美术馆的首席策展人,生活并工作于北京。

吴冬雪毕业于英国皇家艺术学院当代艺术策展专业(Curating Contemporary Art, Royal College of Art),以及利物浦大学建筑系(RIBA Part 1)。她目前的策展实践所关注的议题包括虚拟空间与科技,特定场域公共艺术,以及在后殖民及新自由主义全球化语境下的亚洲当代艺术和时尚生产。她近期在X美术馆的展览项目包括“英格夫·霍伦:异物碎片”,2021;“无尽的服装:研究站”,2021;“终端 >_How Do We Begin?”, X美术馆首届三年展,2020。此外,吴冬雪于2018-19年在伦敦参与策划了“Every Second In Between” —— 白城首个大型公共艺术委任项目。

Poppy Dongxue Wu (b. 1993) is the Chief Curator at X Museum in Beijing, she currently lives and works in Beijing.

Poppy graduated from Royal College of Art in Curating Contemporary Art, and University of Liverpool in Architecture (RIBA Part 1). Her current curatorial practice encompasses virtual space and technology, site-specific public art, and contemporary Asian art and fashion production in the context of Postcolonial and Neoliberal globalisation. Her recent exhibitions at X Museum include ‘Yngve Holen: Foreign Object Debris’, 2021; ‘The Endless Garment: Research Station’, 2021; ‘How Do We Begin?’, X Museum Triennial 1st Edition, 2020. Poppy has also co-curated ‘Every Second In Between’—the first large-scale public art commission in White City, London, 2018-19.

 

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