戶爾空間很榮幸地為您帶來全新群展，“行為之物：日常的實踐”。本次展覽將匯集展出由后極簡主義時期至今的物向藝術(shù)及行為舞蹈。該展覽突出了以瓊·喬納斯和圣戈·南古地為代表的具有歷史影響力的藝術(shù)家，同時，也為新生代藝術(shù)家納迪婭·阿布特、奧盧·奧古納克，鄭亦然及尼可拉斯·里普紹夫提供了展示國際立場的平臺。展覽討論了近年來的全球變化如何改變我們對 "日常的藝術(shù) "的認識，并在各具特色的藝術(shù)實踐之間建立起交錯融合的聯(lián)系。 Hua International is pleased to announce "Performing Objects: Practices of the Everyday," a group show featuring object-oriented art, performance and dance from post-minimalism to the present. The show highlights historically influential artists such as Joan Jonas and Senga Nengundi alongside a new generation of international positions from Nadja Abt, Olu Ogunnaike, Jasphy Zheng, and Niclas Riepshoff. The exhibition is motivated by how the recent global changes have transformed our sense of the "art of the everyday" while establishing interconnections between distinctive art practices. 瓊 · 喬納斯(生于1936年)從后極簡主義中出發(fā)，容納“藝術(shù)與物性”，將雕塑概念的邊界拓展至更廣闊的領(lǐng)域。其早期作品大多為藝術(shù)影像，在單頻道投影作品《有機蜂蜜的視覺心靈感應(yīng)》（1972年）中，喬納斯所創(chuàng)造的“電子色情誘惑者”利用鏡子和面具構(gòu)建了一個反射與模糊的空間，對性別角色的缺陷進行了質(zhì)疑。 Coming out of post-minimalism and embracing both "art and objecthood" as well as the dematerialization of the art object, Joan Jonas (b. 1936) pushed the boundaries of sculpture into an expanded field beyond the horizon of landscape and architecture. Much of her early work consisted of artist films, such as in the single channel projection Organic Honey's Visual Telepathy (1972), in which Jonas's "electronic erotic seductress" uses mirrors and masks to create a space for reflection and ambiguity while interrogating gender character flaws. 同樣地，圣戈·南古地（生于 1943 年）在《表演與內(nèi)外》（1977 年）中將雕塑的形式與即興行為相結(jié)合，通過拉伸扭曲的尼龍網(wǎng)狀緊身衣，以一種全新的仿生態(tài)雕塑及前衛(wèi)表演語言，反映了對女性性別的一種僵化預(yù)設(shè)。 Similarly, Senga Nengudi (b.1943) combines malleable sculpture and improvised movements in Performance with Inside Outside (1977), whereby stretched and contorted nylon mesh tights capture rigid gender expectations in the language of anthropomorphic sculpture and avant-garde performance. 當(dāng)圣戈·南古地與瓊· 喬納斯將雕塑概念擴展至電影（喬納斯）或攝影（南古地）所關(guān)注的更為廣闊的情境之時，本次展覽中的新生代藝術(shù)家們則選擇呈現(xiàn)出或宏大或細微的行為表演，更加模糊不清，甚至難于參透。 While Nengudi and Jonas expanded sculpture into situations attentively captured on film (Jonas) or photography (Nengudi), the much younger artists in this exhibition present performative actions both big and small that are more ambiguous and difficult to decode. 長駐倫敦的藝術(shù)家奧盧·奧古納克（生于1986年），在作品中關(guān)注原材料的使用，尤其是木材，這貫穿于他歷來的創(chuàng)作中。本次展覽奧古納克將帶來為北京量身制作的全新作品《23:15_5Feb20》，五聯(lián)的碳粉金屬絲網(wǎng)印，描繪了集會散去、人走茶涼的情境，作品——尤其是隨著時間不短掉落的碳粉——強化了日常生活中的轉(zhuǎn)瞬即逝、脆弱和憂傷。 The London-based artist Olu Ogunnaike (b. 1986) focuses on essential materials in his work, particularly the use of wood, which is central to his practice. He will present a new commission made exclusively for the exhibition in Beijing, 23:15_5Feb20. A five-panel charcoal printing on metal, which depicts the leftovers on a table after an event ended and people have left, the work – particularly the falling off of the charcoal with the lapse of time – intensifies the sense of transience, fragility and melancholy in everyday life. 與此同時，中國藝術(shù)家鄭亦然（生于1992年）以其富有感染力的雕塑裝置喚醒著個體與他者之間隔閡與關(guān)聯(lián)的認識。其系列作品《情書》從2015年起，每一版本以不同形態(tài)重制陌生人投遞的未寄信。在本次展出的《情書五編》（2021年）里，溝通和信息傳達過程中的艱難被重新演繹、放大。面對一個必須以特定方式互動的裝置，觀者被“強制”以額外的耐心和努力去解讀信的內(nèi)容。以此改寫了信息的傳遞與接收之間的權(quán)力關(guān)系，同時，也挑戰(zhàn)著觀看與被觀看的權(quán)力關(guān)系。 Meanwhile, Chinese artist Jasphy Zheng (b.1992) raises awareness of the collective through evocative sculpture. In her new work, love letter No.5 (2021) she reenacts the failure of the process of communication, from a series of works of love letters started in 2015 in which the artist recreated by hand love letters that she asked anonymous people to send to her. The audience is encouraged to read the love letters, which require an extra effort to comprehend, juxtaposing familiarity and foreignness with voyeurism and vulnerability. By which it rewrites the power relationship between the transmission and reception of information, and challenges the power relationship between watching and being watched. 以更為直接的方式表達展覽觀念的，是藝術(shù)家納迪婭·阿布特（生于1984年）用手工制作的扇子所編排的舞蹈?！渡任琛废群笳故居诎亓峙c圣保羅，現(xiàn)在將迎來其在北京的首次演出。編舞基于對表現(xiàn)主義舞蹈（Ausdruckstanz）歷史的研究及瑪麗·維格曼（Mary Wigman）和魯?shù)婪颉ゑT·拉班（Rudolf von Laban）的舞譜。表演者在預(yù)定的 "舞蹈色彩情節(jié) "中結(jié)合扇子的顏色相互配合舞動，而扇子將通過主體性的轉(zhuǎn)變，作為“行為之物”中的主角，展示在畫廊空間之中。 In a more direct approach to the exhibition, Nadja Abt (b.1984) choreographed a dance with her hand-made fan props. Fan Dance, which will be performed in Beijing for the third time (previously in Berlin and S?o Paulo), is based on research about the history of Ausdruckstanz (expressive dance) and dance notations from Mary Wigman and Rudolf von Laban. The performers dance to each other and to the colors of the fans in predetermined "dance-color-episodes". The fans will be exhibited in the gallery and transform their subjectivity as the protagonists in "Performing Objects". 對主體性的關(guān)注也是尼可拉斯·里普紹夫的作品特點之一。這位居住在柏林的藝術(shù)家創(chuàng)造了一個異體環(huán)境，在其中，物品通過其自身形式進行表演。里普紹夫的作品《第三手》（2021年）直接地參考了斯皮爾伯格的經(jīng)典電影《E.T.外星人》（1982年），以此討論異化的概念。這些全新為展覽而制作的手指進化于2020年曾在柏林展出的早期“ET手指”，它們以紙糊的工藝手法被制成大型的燈具，在創(chuàng)造出親密氛圍的同時，也指向著遙遠的宇宙星海。 Concerns over subjectivity also feature in Niclas Riepshoff's work. The Berlin-based artist creates an allopatric environment where objects perform through their own forms. His The Third Hand (Finger I-V) (2021) deals with alienation by taking direct reference from the cult classic Spielberg film E.T. the Extra-Terrestrial (1982). These newly commissioned fingers come out of two earlier "ET fingers" presented in Berlin in 2020. The fingers are made into large-scale paper maché lamps that create an intimate atmosphere that also points to a faraway cosmology. “行為之物”在探索身與物交織的情境中提出了這樣的問題：當(dāng)我們觸摸物與身體時，什么得以被轉(zhuǎn)譯與交流？當(dāng)表演者被當(dāng)作物體，被作為物體而使用，而物體轉(zhuǎn)化為表演者時，后戲劇性的反轉(zhuǎn)倒置又是什么？物體如何在歷史、認識與藝術(shù)中具有表演性，進而產(chǎn)生社會及政治影響？其中又潛藏著哪些可能性？ "Performing Objects" raises questions about what happens in the intertwining of objects and bodies: What translates and communicates if we touch? What are the post-dramatic inversions, in which performers are used as objects, used by objects, and objects are used as performers? How can objects be performative in history, in epistemology, in art, conducting social and political implications and possibilities latent within? ABOUT ARTIST 關(guān)于藝術(shù)家 納迪婭·阿布特 Nadja Abt 1984 年出生于俄羅斯，弗拉基米爾｜現(xiàn)工作生活于柏林和里斯本 Born 1984 in Vladimirovich, Russia｜Lives and works in Berlin and Lisbon 納迪婭·阿布特在柏林自由大學(xué)學(xué)習(xí)文學(xué)和藝術(shù)史，并且在柏林藝術(shù)大學(xué)和布宜諾斯艾利斯大學(xué)學(xué)習(xí)純藝術(shù)。在藝術(shù)家的行為表演、影像和繪畫作品中，納迪婭通過文學(xué)和電影的引用構(gòu)建女性主義敘事。她是藝術(shù)家團體米歇爾·沃爾塔（Michelle Volta）和b_ books Berlin的一員。她最近參與的展覽和行為表演包括 B?renzwinger，柏林；柏林現(xiàn)代藝術(shù)中心，柏林；世界文化中心，柏林。她即將在波爾圖的自由港（2021. 09）和里斯本的 Galeria Diferen?a 畫廊（2021.10）舉辦個展。 Nadja Abt studied Literature and Art History at Freie Universit?t Berlin as well as Fine Arts at Universit?t der Künste Berlin and the Universidad Torcuato di Tella in Buenos Aires. In her performances, videos, and paintings, She constructs feminist narratives that reference the world of literature and film. She is part of the artist collective Michelle Volta and b_books Berlin. Recent exhibitions and performances include B?renzwinger, Berlin; KW Institute for Contemporary Art, Berlin; Haus der Kulturen der Welt, Berlin; Piv?, S?o Paulo; Casa Triangulo, S?o Paulo. She has upcoming solo shows at Freeport, Porto (Sept. 2021) and Galeria Diferen?a, Lisbon (October 2021).