© X Museum 2021

 


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

 

X美术馆荣幸地宣布将于2021年3月14日至2021年5月30日展出“无尽的服装:研究站”——此展作为持续一年的研究项目“无尽的服装”的序曲篇章,将在美术馆1-4展厅呈现。本次展览汇集了来自大中华地区及十个东南亚国家的22位设计师及艺术家的作品。“无尽的服装:研究站”由特邀策展人耶培·乌尔维(Jeppe Ugelvig)和X美术馆首席策展人吴冬雪共同策划。

X Museum is delighted to announce the opening of “The Endless Garment: Research Station” —— an overture of the ongoing research project “The Endless Garment“, on 14th of March at Gallery 1-4 of X Museum. The exhibition will feature works by 22 artists and designers from 10 countries and regions in Southeast Asia and Greater China; it will run through the 30th of May, 2021. “The Endless Garment: Research Station“ is co-curated by guest curator Jeppe Ugelvig and Poppy Dongxue Wu, Chief Curator at X Museum.

以中国南海地域为概念起点,“无尽的服装”是一个将时尚生产作为媒介的主题研究项目和系列展览。“无尽的服装”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”勾勒出当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。

Using the South China Sea as a conceptual starting point, “The Endless Garment” is a research project and two-fold exhibition about fashion production. The project 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 contemporary generation of practices who inhabit and critically respond to fashion as a cultural, social, and economic system.


时尚——或者广义维度上的服装产业——是全球化世界中最古老的网络之一:一个不平衡的竞争系统,在这个体系中,商品、身份和形象在全球范围内快速流通,通过风格将碎片化的地理位置连接起来。服装的生产和消费催生了庞杂的跨国网络,并建构出发生在亚洲内部的、洲际间的移民和文化交流历史。时尚所提供的不仅仅是一种关乎美学的企业缔造,同时也提供了一种集体认同的形式——这一点伴随着互联网的出现才愈加变得明显。在过去的十年中,数字技术迅速改变了时尚商业,并允许新的、另类的时尚实践模式在社交媒体领域本土化,而这一点在亚洲尤为明显。这些创新非但没有使这个领域变得扁平化,反而促生了DIY时尚的系统化生产、流通以及交换,点引出跨越地域的机遇和意料之外的共同审美趣味。

Fashion—and more broadly, the garment industry—is one of the oldest networks of the globalized world: an uneven and contested system where commodities, identities, and images circulate at rapid speed across the globe, connecting disparate contexts through style. The production and consumption of clothing have long produced complex transnational networks, and constitutes the fabric of migration and histories of cultural exchange to/from/within Asia. Fashion offers not only a form of aesthetic entrepreneurship but a form of collective identification—this has only become more obvious with the invention of the internet. In the past decade, digital technology has rapidly transformed fashion business, particularly in Asia, and allowed for new, alternative modes of fashion practice native to the social media sphere. Rather than flattening the field, these innovations have led to the proliferation of DIY systems of production, circulation, and exchange of fashion, sparking surprising moments of opportunity and kinship across geographies. 

本次展览以著作权、真实性、劳动力、遗产和身份为主要线索,跳过了时尚的主流范畴,转而专注更边缘化的生产和创作空间:从胡志明的布料市场到巴厘岛的独立设计布景;从纽约唐人街的社区驱动型时装秀到马尼拉和雅加达的手工定制品牌。展览的名字取自于艺术家团体山寨歌词正在进行中的同名诗歌项目《无尽的服装》——最早见于罗兰·巴特的著作《时尚系统》。近年来,山寨歌词持续地从香港、深圳、广州、北京和纽约等地的服装市场上收集山寨T恤。展览中的艺术家们将个人和集体传记的悖论与时尚的全球流水线融合在一起,低透明度的供应链模糊了原产地和代表性,而电子商务则持续地发掘着与消费者亲密接触的新模式。“无尽的服装”中的参与者挑战了品位谱系中的阈值、原创与仿造、作者与劳动者、消费者与生产者之间的划分,他们在日益数字化的时尚系统中推演,以突出其问题、悖论、讽刺和可能性——最终将时尚生产看作一种批判性的实践,得以编织出全球社区的新物质政治。通过展示来自大中华地区以及东南亚的全球散居者们的时尚实践和当地的时尚企业,该项目旨在使“亚洲”这个文化、地理和经济的类别变得更加和纷复杂繁化,同时深化其背后的故事、问题和敏感性。

Tackling themes such as authorship, authenticity, labor, heritage, and identity, the exhibition skips fashion’s mainstream purview to instead focus on its more marginal spaces of production, from Ho Chi Minh’s fabric markets to Bali’s independent design scene; from community-driven runway shows in New York’s Chinatown to artisanal couture brands in Manila and Jakarta. The exhibition borrows its name—itself a quote from Roland Barthes’ The Fashion System—from the ongoing poetry project by participating artist group Shanzhai Lyric, who for several years have collected Shanzhai t-shirts found in clothing markets in Hong Kong, Shenzhen, Guangzhou, Beijing, and New York. The artists in the exhibition fuse the paradoxes of personal and collective biography with those of fashion’s global assembly line, where opaque supply chains work to obfuscate origin and representation while e-commerce continues to cultivate new modes of intimacy with consumers. Challenging taste hierarchies and divisions between high and low, original and counterfeit, author and laborer, consumer and producer, the participants in The Endless Garment perform (in) the increasingly digital fashion system so as to highlight its problems, paradoxes, ironies, and possibilities—and ultimately propose fashion production as a critical practice that can work to outline a new material politic of the global community. By presenting diaspora fashion practices from around the world alongside fashion businesses from the region, the project sets out to complicate “Asia” as a cultural, geographical, and economic category, while deepening the stories, questions, and sensibilities behind it.


鉴于新冠大流行的物理限制,展览的第一部分将以一个由时尚物品、出版物和影像放映组成的研究站形式开启:一组充满戏剧性的人体模特军团装置也将展示来自10个国家和地区的当代时装设计师的服装以及他们的实践,同时通过与广州艺术家团体女子天团合作的实物装置和工作坊的方式予以激活。

Responding to the physical restrictions of the COVID pandemic, the exhibition‘s first part will take form as an ephemeral research station comprising fashion objects, publications, and films, activated through a physical installation and workshop with the Guangzhou collective NZZT Sewing Co-op. A dynamic mannequin installation will present outfits from contemporary fashion designers and practices spanning 10 countries and regions.



此次的“无尽的服装:研究站”将作为项目的一个起点,该研究项目将贯穿整个2021年,并最终在11月完成总结性展览和一个出版物。该出版物将与时尚评论杂志《Viscose》合作出版,于2021年秋季在全球发行。

This physical March showcase is the starting point of a project that will continue throughout 2021 and culminate in a publication and a conclusive exhibition in November. Published in collaboration with the journal for fashion criticism Viscose, the publication will be distributed worldwide in Autumn 2021.

 

参展艺术家 Artists

Asai
Baby Reni 蕾妮宝贝
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
Ican Harem 伊坎·哈勒姆
Joyce NG 伍载诗
Manda Pinkygurl 曼达粉女郎
NZTT Sewing Co-op 女子天团
PZtoday 今天PZ
Philip Huang 菲利普·黄
StrongThe 斯仲特
Syna Chen 陈楠
SAMUEL GUÌ YANG
Suwukou 苏五口
Shanzhai Lyric 山寨歌词
TOTON
VeniceW 威尼斯W
Yat Pit 一丿
Yuan Xiaopeng 袁小鹏
Zhou Rui 周睿

特别呈现:theBallroom⁺


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“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,同时她也是一名建筑师(RIBA Part I)。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)。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。

Poppy Dongxue Wu (b. 1993) is the Chief Curator of X Museum in Beijing, and a trained architect (RIBA Part I).Poppy graduated from Royal College of Art in Curating Contemporary Art. Her current curatorial practice encompasses virtual space and technology, site-specific public art, and contemporary Asian art in the context of Postcolonial and Neoliberal globalisation.

她近期的展览项目包括:“馆藏:瞬息时代的诗歌”,2020,X美术馆,北京;“终端 >_How Do We Begin?”, X美术馆首届三年展,2020,X美术馆,北京; “Every Second In Between” —— 白城首个大型公共艺术委任项目,2018-19,英国伦敦。

Her recent exhibitions include “Collection as Poem in the Age of Ephemerality”, 2020-21, X Museum, Beijing; “How Do We Begin?”, X Museum Triennial 1st Edition, 2020, X Museum, Beijing, CN; “Every Second In Between”--the first large-scale public art commission in White City, 2018-19, White City Place, London, UK.

 

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