© 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2022年4月17日至7月17日呈现群展“自体触击”。展览将汇集四位来自国内外艺术家的作品,其中包括部分艺术家根据本次展览空间和语境进行的全新创作。通过对身体经验的转述和重演,展览试图审视身体的反复无常,在艺术家对材料的雕塑性实验之中,揭示文化、自然和人之身躯间的固有联系。

X Museum is pleased to present the group exhibition ‘The Kick Inside’ from 17 April to 17 July 2022. The exhibition brings together the works of four domestic and international artists, with some of the pieces being newly created in accordance with the space and discourse of the exhibition. Through the transliteration and re-enactment of bodily experiences, the exhibition seeks to explore the volatility of the body, revealing the anchored connections between culture, nature and the human body via the artists’ sculptural experiments with various materials.


身体是一个即时流动和充满矛盾的系统。意识、身份和感官于此历经最基本的生命行为得以构建,借由触摸、呼吸、观看和聆听,触及和连接更为宽广的界域。通过对身体的感知和体察,我们得以破译复杂的社会历史和存在于不断变化之中的个体现实。“自体触击”以身体的“物性”为起始,展开探讨它是如何被视为生物、物质和个人叙事的融合。展览标题取自英国音乐家凯特·布希于1978年发行的同名歌曲。歌曲引述了古英格兰民俗传说“露西·万”中所描绘的身体经验:受孕、分娩、感受来自体内的撞击。展览中的艺术家均秉承着从身体出发的研究方式;她们以或玩味或严肃的方式引用或拆解多维度的身体内涵,透过不同文化和历史的层层滤镜,审视由身体触发的身份、记忆、情感与幻想正在如何上演。

The body is a fluid and constantly contested system. As such, our consciousness, identity and senses are constructed and emerge into a broader realm through the most essential acts of life — touching, breathing, looking, and hearing. Through the perception and scrutinization of the body, we are able to decipher the complexities of social history and the individual reality embedded in perpetual flux. Examining the ‘thingness’ of the body, ‘The Kick Inside’ evaluates how the body can be conceived as a place of encounters where biology, material, and personal narratives convene. The title of the exhibition, ‘The Kick Inside’, is taken from the eponymous 1978 song by British musician Kate Bush. A reference to English folklore, ‘Lucie Wan’, which depicts a tragedy of incest, the song refers to a corporeal experience unique to women: pregnancy, childbearing, and feeling the baby’s kick within. The artists in the exhibition are all committed to a bodily approach to their practice; they invoke or dismantle the multidimensional connotations of the body in an either playful or pensive way, re-contemplating how identities, memories, emotions and fantasies triggered by the body play out through the lens of disparate cultures and histories.


展览试图反思身体的物性存在如何被裹挟进入文化与社会的跌宕起伏之中,同时梳理艺术家将身体视为媒介与主体的表达方式,并据此提出一系列关乎现实的批判性问题。澳大利亚女性主义哲学家伊丽莎白·格罗兹曾提出“易变的身体”来强调生物存在中所蕴含的虚拟性和张力,将身体的生物特质与社会和历史力量联系起来以阐述自然与文化的复杂关系。身体不仅仅是一种超越任何概念化的物质性;它的血肉成型积极参与了一切文化生命的转化和变革过程。展览中的作品来自四种相异的文化语境;通过理解身体在不同文化中的批判性所在,展览力求构建一个感受性的空间,在此,身体不仅是一种生命的尺度,也是历史与当下、集体与个人的交汇。

The exhibition aims to reflect how the body’s physical presence is entwined within the turbulence of culture and society, underlining how the body is approached as a medium and subject by artists and asking a series of critical reality-related questions in light of this. The Australian feminist philosopher Elizabeth Grosz once proposed the concept of ‘volatile bodies’ to emphasise the virtualities and potentialities inherent within biological existence, associating the physicality of the body with social and historical forces in order to articulate the intricate relationship between nature and culture. The body is not merely a material that transcends any conceptualisation; its formations are actively involved in the transformation and evolving processes of all cultural life. Drawing from four different cultural contexts, the exhibition seeks to understand where the body is critically situated in the otherness of these different cultures. The exhibition thereby intends to construct a perceptual space in which the body is not solely a measure of life, but also represents a crossroads intersecting the historical and the present, as well as the collective and the individual.


“自体触击“通过对身体形式和生命内涵的抽丝剥茧,以揭示身体多元错杂、时刻变化的状态和模式。四位艺术家将分别使用四个独立的展厅,使作品在织构各自叙事的同时,在空间中形成松散的互文关系。展览中,异形的人眼反窥着家庭环境下的父权凝视,花朵心脏唤起生命消亡的节奏韵律,刺绣与石碑勾勒出后苏联时期东欧国家乌托邦式的集体梦想,消失的螺仙流淌着伤痛的体液……这些作品涉及后现代生态学、女性主义、科幻文学和民俗学所呈现的观点,通过感官和空间的调动,牵引观众参与完成故事的讲述,触击涌动在身体之下的微妙情绪。

By undertaking a painstaking investigation into the forms of the human body and life’s connotations, ‘The Kick Inside’ highlights the body’s multifarious patterns and ever-changing states. While enabling the audience to perceive a somewhat intertextual relationship inside the space, distinct narratives emerge from the works, with each artist occupying their own gallery: the alien human eyes look into the psychic terrain of domestic space in the age of surveillance capitalism; the floral hearts evoke the rhythm of the demise of life; the embroideries and stelae outline the utopian collective dream of a post-Soviet Eastern European country; and the vanishing nymph drips with the bodily fluids of pain. These works engage with ideas presented in fields ranging from postmodern ecology and feminism to science fiction literature and folklore. Ultimately, through the mobilisation of the senses and space, the audience is encouraged to become involved in the storytelling, touching on the subtle emotions that surge within the body.


关于艺术家 About the Artist

奥利维亚·厄兰格(生于1990年,纽约),现生活并工作于洛杉矶。厄兰格擅于通过女性主义视角对美国民间传说和中产阶级符号进行解读;她的实践研究了经济和生态的崩溃如何影响社会近期的身份分裂。她的近期个展包括:“家即身体”(Soft Opening画廊,伦敦,2020);“错层天堂”(Bel Ami画廊,洛杉矶,2020);“艾达”(Motherculture,洛杉矶,2018);“满嘴花粉”(AND NOW画廊,达拉斯,2018)等。她近期参加的群展包括:“液体生命”(基斯特福斯美术馆,耶夫纳克,2020);“冬宴”(阿斯彭美术馆,阿斯彭,2020);“人们整天做什么?”(夏洛特堡美术馆,哥本哈根,2020);“没有空间,仅此一地”(大林美术馆,首尔,2020);“纠缠不清的故事”(鲁伯特艺术中心,维尔纽斯,2018)等。

Olivia Erlanger (b. 1990, New York) lives and works in Los Angeles. Through an exploration on American folklore and symbols of the middle class from a feminist and cinematic perspective, Erlanger’s work investigates how the different kinds of collapse in economics and ecologies influence the recent fracturing of identity. Her recent solo exhibitions include “Home is A Body” (Soft Opening, London, 2020); “Split-level Paradise” (Bel Ami, Los Angeles, 2020); “Ida” (Motherculture, Los Angeles, 2018); “mouths filled with pollen” (AND NOW, Dallas, 2018). Selected group exhibitions include “Liquid Life” (Kistefos Museum, Jevnaker, 2020); “Winterfest” (Aspen Art Museum, Aspen, 2020); “What do People do All Day?” (Kunsthal Charlottenborg, Copenhagen, 2020); “No Space Just a Place” (Daelim Museum, Seou, 2020); “Entangled Tales, Rupert, Vilnius, 2018).

戴加·格兰蒂纳(生于1985年,萨尔杜斯),现生活并工作于巴黎。格兰蒂纳的雕塑借用抽象的身体及景观语汇来探究不同材料之间的互文关系,洞察生物体与环境变化中的无形与有形、和谐与矛盾。她的近期个展包括:“向羽毛学习”(Liebaert Projects,科特来克,2021);“自我侵食”(新美术馆,纽约,2020);“萨乌尔太阳”(威尼斯双年展拉脱维亚馆,威尼斯,2019);“极异”(东京宫,巴黎,2018)等。她参加的近期群展包括:“后数字化亲密”(布拉格国立美术馆,布拉格,2021);“文字展览会”(釜山双年展,釜山,2020);“太阳体”(奥赛博物馆,巴黎,2018)等。

Daiga Grantina (b. 1985, Saldus, Latvia), lives and works in Paris. Grantina’s sculptures borrow abstract vocabulary from bodies and landscapes to explore the intertextual relationship between different materials, gaining insight into the invisible and the tangible, the dissonance and consonance between organisms and their changing environment. Her recent solo exhibitions include: “Learning from Feathers” (Liebarert Projects, Kortrijk, 2021); “What Eats Around Itself” (New Museum, New York, 2020); “Saules Sun” (Latvian Pavilion, Venice Biennale, Venice, 2019); “Toll” (Palais de Tokyo, Paris, 2018) and more. Selected group exhibitions include “Post-digital Intimacy, Prague National Gallery, Prague, 2021); “Words at an Exhibition” (Busan Biennale, Busan, 2020); “Solar Bodies” (Musée d’Orsay, Paris, 2018).

克拉拉·霍斯内德洛娃(生于1990年,乌尔茨克-赫拉迪什特),现工作并生活于柏林。霍斯内德洛娃的作品探索了凝结于当代设计与建筑中的历史情感,她的雕塑根植于东欧的历史与集体神话。她的近期个展包括:“巢”(Kraupa-Tuskany Zeidler画廊,柏林,2020);“就座的女子”(Karlin Studios画廊,布拉格,2019)等。她的近期群展有:“散步”(巴塞尔艺术展,巴塞尔, 2021);“无尽的边界”(波罗的海三年展,维尔纽斯,2021);“蚀”(雅典双年展,雅典,2021);“工作室”(鲍罗斯收藏美术馆,柏林,2020);“嬗变:此时此刻的欧洲艺术”(卡地亚基金会,巴黎,2019)等。

Klára Hosnedlová (b.1990, Uherské Hradiště), lives and works in Berlin. Hosnedlová’s work explores historical sentiments as they crystallize in modern and contemporary design and architecture. Her sculptures are indebted to Eastern European histories and the past collective mythologies. Her recent solo exhibitions include: “Nest” (Kraupa-Tuskany Zeidler, Berlin, 2020); “Seated Woman” (Karlin Studios, Prague, 2019). Her recent solo exhibitions include: “Parcours” (Art Basel, Basel, 2021); “The Endless Frontier” (Baltic Triennial, Vilnius, 2021); “Eclipse” (Athens Biennial, Athens, 2021); “Metamorphosis. Art in Europe Now” (Cartier Foundation, Paris, 2019).

谭婧(生于1992年,广东),现工作并生活于广州、深圳。她的艺术实践以雕塑和多媒体装置为主。她的创作时常来自于个人历史与生物学、⺠俗学素材研究的交织。谭婧着迷于研究特定场域中,感官如何被实验性的材料所调动,并且在物体和空间的作用下实现个体感受与半虚构故事的重叠。她通过艺术实践,探索想象的空间如何被流动和出走的经验共情所牵引,使观者对她构建的叙事产生推测性的联想。她近期参加的展览项目包括: “乌濛嗅径”(黄边站当代艺术研究中心,广州,2022);“帘幕”(Parasite ,香港,2021);“格物致知,或一则关于喷泉、地砖、锡、银、币、石头、⻉壳与人的故事” (广东时代美术馆,广州,2020);“More More More” (油罐艺术中心,上海,2020)等。

Tan Jing (b. 1992, Guangdong),lives and works in Guangzhou and Shenzhen. Tan is keen on experimenting with textures, materials, and form within sculpture and installation. Her practice combines her expertise in the unpredictable composition of materials and techniques, with her whimsical intertwist of elements from biology and folklore. Tan has been experimenting with recreating new versions of a story, by dint of the formation of speculative relations among personal experiences, folklores and historical trajectories, from imagined spaces navigated by flowing and straying experiential empathy. Her recent exhibitions include: “Trancing Lap Hung” (HB Station, 2022); “Curtain” (Para Site, Hong Kong, 2021); “More, More, More” (Tank Shanghai, Shanghai, 2020); “Study of Things - Or A Brief Story about Fountai, Brink, Tin, Coin, Stone, Shell, Curtain, and Body” (Guangdong Times Museum, Guang Dong, 2020) and more.
 

展览现场 Installation Views

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