© X Museum 2021

 



关于展览 About The Exhibition
关于艺术家 About the Artist  



X美术馆荣幸地宣布将于2021年9月5日至12月5日推出挪威/德国艺术家英格夫·霍伦的首个亚洲个展“异物碎片”。本次展览汇集了30余件霍伦的全新作品,这些作品来自于艺术家对于工业制造、当代食品生产和航空公司等领域近十年的探索。

X Museum is delighted to present ‘Foreign Object Debris’ from 5 September to 5 December 2021, the Norwegian-German artist Yngve Holen’s first solo show in Asia. The exhibition brings together more than 30 new works from Yngve Holen’s extended practices that are grounded in his decade-long explorations of industrial manufacturing, contemporary food productions, and commercial airliners.


英格夫·霍伦 ,“Overbeck Prize”,德国Overbeck-Gesellschaft,2020,摄影:Stefan Korte
致谢艺术家,柏林Galerie Neu,伦敦Modern Art及法兰克福Neue Alte Brücke
Yngve Holen, ‘Overbeck Prize’, Overbeck-Gesellschaft, Germany, 2020, photo Stefan Korte,
Courtesy the artist, Galerie Neu, Berlin, Modern Art, London, Neue Alte Brücke, Frankfurt a.M.


(左)英格夫·霍伦 ,《人智学SUV》,2021,
摄影:Stefan Korte
致谢艺术家,柏林Galerie Neu,伦敦Modern Art及法兰克福Neue Alte Brücke
(left) Yngve Holen, Anthroposophic SUV, 2021,
photo Stefan Korte,
Courtesy the artist, Galerie Neu, Berlin, Modern Art, London, Neue Alte Brücke, Frankfurt a.M.

(右)英格夫·霍伦,《密集恐惧症》,2021,
摄影:Stefan Korte
致谢艺术家,柏林Galerie Neu,伦敦Modern Art及法兰克福Neue Alte Brücke
(right) Yngve Holen, Trypophobia, 2021,
photo Stefan Korte,
Courtesy the artist, Galerie Neu, Berlin, Modern Art, London, Neue Alte Brücke, Frankfurt a.M.

在航空领域中,异物碎片(FOD)表示在不适当的位置所出现的物体,并可能因为处于该位置而对飞机或人员造成损害。在这个意义之上,错置相对于物体的其他固有属性而言,更具有破坏性;于此,FOD也变成了一个流动的概念——原本熟悉的物体在脱离了它们处于机械系统中的指定环境和位置后变化成为异物。在展览“异物碎片”中,机械部件被提取并改造成为具有仿生特质的散落物,隐约地显露着它们类似有机物,甚至是类人形态的存在。英格夫·霍伦跳出二元对立看待人与机器之间的陈旧观念,强调两者之间的重叠领域。本次展览中的作品在诸多工业零件中进行拆解和重组,不断地在人机复合体以及身体-灵魂的悖论之间交迭,为人类和科技的共生想象提供生长基质。

In the aviation industry, Foreign Object Debris (FOD) indicates the objects found in an inappropriate location and could potentially cause damage due to being in that location. Dislocation becomes more disruptive in this sense than other inherent qualities of an object; FOD then turns into a fluid concept—the familiar objects are spontaneously rendered foreign when separated from their designated context and location in the machinery system. In the exhibition ‘Foreign Object Debris’, machinery parts are extracted and revamped into biomimetic debris that starts to reveal their organic or even human-like presence. If not seeing man and machine from a dualistic point of view, Yngve Holen’s works highlight the overlapping realm between the two. Drawing from disassembled industrial parts, works in this exhibition constantly skip between man-machine complex and body-mind paradoxes, and in turn, lay matrices for human and technology symbiosis.


英格夫·霍伦,《心脏》,2021,摄影:Stefan Korte
致谢艺术家,柏林Galerie Neu,伦敦Modern Art及法兰克福Neue Alte Brücke
Yngve Holen, Heart, 2021, photo Stefan Korte,
Courtesy the artist, Galerie Neu, Berlin, Modern Art, London, Neue Alte Brücke, Frankfurt a.M.

身体作为英格夫·霍伦雕塑作品的主要对象,无论其在作品中是否直观可见,缺席或在场,都能够通过一系列的形态转变而显现:从器官到工业零件、从家禽到碎片、从雕像到人形机器人、从肉体到装饰品……大规模的数字化时代为我们带来快速访问和处理数据的便利,也同时让霍伦手中的形态转变——制作“机器中的幽灵”,得以以多种不同的方式展开。3D扫描和3D打印是霍伦所使用的数据处理方式中最为常见的两种技术手法。这样的双重处理勾勒出一个当代图像表现的困境:将一个物体的形态简化为数据的集合体,却不保留它的物质性,进而使新的材质填充到原有的空腔中——类似清除地形后进行的场地建设:原来的结构被拆除,新的身体中保有旧的灵魂。

Body as the primary subject to Yngve Holen’s sculptural works, be it absent or present, often looms out through the metamorphosis from organs to industrial parts, poultries to debris, figures to humanoids, and flesh to ornaments. The age of mass digitalisation grants us the convenience of quick data access and process, allowing Holen’s metamorphosis—the makings of ghost-in-the-machine, to unfold in multiple different ways. Central to the techniques that Holen adopts are 3D scanning and printing. Outlining a contemporary dilemma of image representations: the two-fold treatment turns the form of an object into collections of data without reservation of its materiality, but instead enables the filling of new matters to the previous cavity—reminiscent of the bulldozing and the subsequent construction of a site: the original structure is removed for the replacement of the new—old minds in new bodies.


(左)英格夫·霍伦 ,《更多随机性》,2021,
摄影:Stefan Korte
致谢艺术家,柏林Galerie Neu,伦敦Modern Art及法兰克福Neue Alte Brücke
(left) Yngve Holen, More Randomness, 2021,
photo Stefan Korte,
Courtesy the artist, Galerie Neu, Berlin, Modern Art, London, Neue Alte Brücke, Frankfurt a.M.

(右)英格夫·霍伦,《神经经济学》,2021,
摄影:Stefan Korte
致谢艺术家,柏林Galerie Neu,伦敦Modern Art及法兰克福Neue Alte Brücke
(right) Yngve Holen, Neuroeconomics, 2021,
photo Stefan Korte,
Courtesy the artist, Galerie Neu, Berlin, Modern Art, London, Neue Alte Brücke, Frankfurt a.M.

英格夫·霍伦利用属性相反的材料,从交叉叠层木材、碳纤维到蜂窝铝和铀玻璃,将X美术馆的一层展览空间变成了由室内软装、现成品以及从生产线上脱离出来的拟人化的机械零件的无界组合。在这样的排布下,“异物碎片”渲染出一种幻觉景观,被压抑的欲望和英雄式的自我在这里汇聚到一起。从肉体图案的地毯、3D打印的奶牛雕塑到由环形灯照亮的莲花状吹制玻璃,“异物碎片”是一个由仿生物体堆积而成的现场。置身其中,我们得以窥探人类的欲望与需求如何稳步地塑造并且消费工业设计和产品,抑或相反,技术的进步如何修改和配置人类的消费。

Making use of opposite materials ranging from cross-laminated timber and carbon fibre to aluminium honeycomb and Uranium glass, Yngve Holen turns the ground level exhibition space of X Museum into a boundless mix of interior furnishings, readymade objects, and anthropomorphic machinery parts off the production line. Under such arrangements, ‘Foreign Object Debris’ renders a hallucinating landscape where symptoms of repressed desires and attempts of heroic egos converge. Comprised of biomimetic objects: from the flesh patterned carpet, 3D printed cow sculpture, to lotus-shaped blown glass lit by a ring light, ‘Foreign Object Debris’ positions a lens through which we can see how desires of humankind steadily shape and consume industrial designs and productions, or even on the flip side, how technological advancements modify and configure human consumptions.


英格夫·霍伦,《FOD》,2021,摄影:Stefan Korte
致谢艺术家,柏林Galerie Neu,伦敦Modern Art及法兰克福Neue Alte Brücke
Yngve Holen, FOD, 2021, photo Stefan Korte,
Courtesy the artist, Galerie Neu, Berlin, Modern Art, London, Neue Alte Brücke, Frankfurt a.M.


英格夫·霍伦,“Heinzerling”,挪威Kunstnernes Hus,2019,
摄影:Vegard Kleven
致谢艺术家,柏林Galerie Neu,伦敦Modern Art及法兰克福Neue Alte Brücke
Yngve Holen, ‘Heinzerling’, Kunstnernes Hus, Norway, 2019,
photo Vegard Kleven,
Courtesy the artist, Galerie Neu, Berlin, Modern Art, London, Neue Alte Brücke, Frankfurt a.M.


英格夫·霍伦,“Heinzerling”,挪威Kunsthall Stavanger,2019,摄影:Erik Sæter Jørgensen,
致谢艺术家,柏林Galerie Neu,伦敦Modern Art及法兰克福Neue Alte Brücke
Yngve Holen, ‘Heinzerling’, Kunsthall Stavanger, Norway, 2019, photo Erik Sæter Jørgensen,
Courtesy the artist, Galerie Neu, Berlin, Modern Art, London, Neue Alte Brücke, Frankfurt a.M.


关于艺术家 About the Artist

英格夫·霍伦(1982年生于布伦瑞克),目前生活并工作于柏林和奥斯陆。他先后毕业于维也纳应用艺术大学建筑系,以及施泰德艺术学院(HfBK Städelschule)雕塑系(Meisterschüler Bildhauerei)。霍伦的创作以雕塑和装置为主要媒介,他的研究领域涵盖广泛,从汽车工业、食品生产和机器人科学,到整形外科和航空航天等诸多现代产业,探索人机危机。

Yngve Holen (b. 1982, Braunschweig), currently lives and works in Berlin and Oslo. He graduated from HfBK Städelschule in Meisterschüler Bildhauerei, and University of Applied Arts Vienna in Architecture. Holen primarily works with sculptures and installations, enlightening the human-machine crisis by delving into a wide range of modern specialised industries, from automotive, food production and robotic science, to plastic surgery and aviation.

霍伦是奥弗贝克奖(2020年)、罗伯特·雅各布森奖(2017年)和ARS VIVA(2014/15年)的获得者。他在欧洲各地曾广泛举办个展,其中包括奥斯陆Kunstnernes Hus(2019)、杜塞尔多夫美术馆(2018)以及巴塞尔美术馆(2016)等。同时,他的作品也被纳入例如第九届柏林双年展和犹太人博物馆的Take Me(I'm Yours)(2016)等群展中。

Holen is the recipient of the Overbeck Prize (2020), Robert Jacobsen Prize (2017), and ARS VIVA (2014/15). He has held solo exhibitions extensively around the EU, including Kunstnernes Hus, Oslo (2019); Kunsthalle Düsseldorf (2018); Kunsthalle Basel (2016). His works were also included in group exhibitions such as the 9th Berlin Biennale and Take Me (I’m Yours) at The Jewish Museum (2016).