X美術(shù)館榮幸地宣布將于2021年9月5日至12月5日推出挪威/德國(guó)藝術(shù)家英格夫·霍倫的首個(gè)亞洲個(gè)展“異物碎片”。本次展覽匯集了30余件霍倫的全新作品，這些作品來(lái)自于藝術(shù)家對(duì)于工業(yè)制造、當(dāng)代食品生產(chǎn)和航空公司等領(lǐng)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.

在航空領(lǐng)域中，異物碎片（FOD）表示在不適當(dāng)?shù)奈恢盟霈F(xiàn)的物體，并可能因?yàn)樘幱谠撐恢枚鴮?duì)飛機(jī)或人員造成損害。在這個(gè)意義之上，錯(cuò)置相對(duì)于物體的其他固有屬性而言，更具有破壞性；于此，F(xiàn)OD也變成了一個(gè)流動(dòng)的概念——原本熟悉的物體在脫離了它們處于機(jī)械系統(tǒng)中的指定環(huán)境和位置后變化成為異物。在展覽“異物碎片”中，機(jī)械部件被提取并改造成為具有仿生特質(zhì)的散落物，隱約地顯露著它們類似有機(jī)物，甚至是類人形態(tài)的存在。英格夫·霍倫跳出二元對(duì)立看待人與機(jī)器之間的陳舊觀念，強(qiáng)調(diào)兩者之間的重疊領(lǐng)域。本次展覽中的作品在諸多工業(yè)零件中進(jìn)行拆解和重組，不斷地在人機(jī)復(fù)合體以及身體-靈魂的悖論之間交迭，為人類和科技的共生想象提供生長(zhǎng)基質(zhì)。

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.

身體作為英格夫·霍倫雕塑作品的主要對(duì)象，無(wú)論其在作品中是否直觀可見，缺席或在場(chǎng)，都能夠通過(guò)一系列的形態(tài)轉(zhuǎn)變而顯現(xiàn)：從器官到工業(yè)零件、從家禽到碎片、從雕像到人形機(jī)器人、從肉體到裝飾品……大規(guī)模的數(shù)字化時(shí)代為我們帶來(lái)快速訪問(wèn)和處理數(shù)據(jù)的便利，也同時(shí)讓霍倫手中的形態(tài)轉(zhuǎn)變——制作“機(jī)器中的幽靈”，得以以多種不同的方式展開。3D掃描和3D打印是霍倫所使用的數(shù)據(jù)處理方式中最為常見的兩種技術(shù)手法。這樣的雙重處理勾勒出一個(gè)當(dāng)代圖像表現(xiàn)的困境：將一個(gè)物體的形態(tài)簡(jiǎn)化為數(shù)據(jù)的集合體，卻不保留它的物質(zhì)性，進(jìn)而使新的材質(zhì)填充到原有的空腔中——類似清除地形后進(jìn)行的場(chǎng)地建設(shè)：原來(lái)的結(jié)構(gòu)被拆除，新的身體中保有舊的靈魂。

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.

英格夫·霍倫利用屬性相反的材料，從交叉疊層木材、碳纖維到蜂窩鋁和鈾玻璃，將X美術(shù)館的一層展覽空間變成了由室內(nèi)軟裝、現(xiàn)成品以及從生產(chǎn)線上脫離出來(lái)的擬人化的機(jī)械零件的無(wú)界組合。在這樣的排布下，“異物碎片”渲染出一種幻覺(jué)景觀，被壓抑的欲望和英雄式的自我在這里匯聚到一起。從肉體圖案的地毯、3D打印的奶牛雕塑到由環(huán)形燈照亮的蓮花狀吹制玻璃，“異物碎片”是一個(gè)由仿生物體堆積而成的現(xiàn)場(chǎng)。置身其中，我們得以窺探人類的欲望與需求如何穩(wěn)步地塑造并且消費(fèi)工業(yè)設(shè)計(jì)和產(chǎn)品，抑或相反，技術(shù)的進(jìn)步如何修改和配置人類的消費(fèi)。

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.

關(guān)于藝術(shù)家 About the Artist

英格夫·霍倫（1982年生于布倫瑞克），目前生活并工作于柏林和奧斯陸。他先后畢業(yè)于維也納應(yīng)用藝術(shù)大學(xué)建筑系，以及施泰德藝術(shù)學(xué)院（HfBK St?delschule）雕塑系（Meisterschüler Bildhauerei）?；魝惖膭?chuàng)作以雕塑和裝置為主要媒介，他的研究領(lǐng)域涵蓋廣泛，從汽車工業(yè)、食品生產(chǎn)和機(jī)器人科學(xué)，到整形外科和航空航天等諸多現(xiàn)代產(chǎn)業(yè)，探索人機(jī)危機(jī)。 霍倫是奧弗貝克獎(jiǎng)（2020年）、羅伯特·雅各布森獎(jiǎng)（2017年）和ARS VIVA（2014/15年）的獲得者。他在歐洲各地曾廣泛舉辦個(gè)展，其中包括奧斯陸Kunstnernes Hus（2019）、杜塞爾多夫美術(shù)館（2018）以及巴塞爾美術(shù)館（2016）等。同時(shí)，他的作品也被納入例如第九屆柏林雙年展和猶太人博物館的Take Me（I'm Yours）（2016）等群展中。

Yngve Holen (b. 1982, Braunschweig), currently lives and works in Berlin and Oslo. He graduated from HfBK St?delschule 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. 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).

鳴謝 Acknowledgement

本次展覽由唯一汽車合作伙伴Polestar極星全球高性能電動(dòng)汽車品牌首席贊助呈現(xiàn)。感謝挪威駐華大使館、Office for Contemporary Art Norway、Kunstfonds及Brunello Cucinelli對(duì)本次展覽提供的慷慨支持。本次展覽的公共項(xiàng)目由PHILLIPS富藝斯支持。同時(shí)特別鳴謝X美術(shù)館理事會(huì)X Men以及年輕理事會(huì)X Citizen成員對(duì)X美術(shù)館的大力支持。

The exhibition is made possible by Polestar, an independent Swedish premium electric performance car brand, as Exclusive Automotive Partner. X Museum thanks Royal Norwegian Embassy in Beijing, Office for Contemporary Art Norway, Kunstfonds, and Brunello Cucinelli for their generous support. Public programmes are exclusively supported by Phillips. Special thanks to the members of X Museum Board of Trustees X Men and Young Patrons Circle X Citizen for their generous support.

關(guān)于極星 About Polestar 極星是一個(gè)以設(shè)計(jì)驅(qū)動(dòng)的高性能電動(dòng)汽車品牌，立志為社會(huì)提供更好的優(yōu)化方案。極星在設(shè)計(jì)與科技中不斷向前進(jìn)發(fā)，以純電與創(chuàng)新驅(qū)動(dòng)著產(chǎn)品的持續(xù)更新，打造出性能、環(huán)境友善和樂(lè)趣等多維度豐富的電動(dòng)汽車。極星通過(guò)設(shè)計(jì)展現(xiàn)出電動(dòng)高性能汽車的未來(lái)和可能性，不斷探索汽車的未來(lái)疆域，引領(lǐng)汽車行業(yè)的發(fā)展。