X美術(shù)館將于2021年12月19日至2022年3月20日呈現(xiàn)展覽“安東尼奧·奧巴：寓言”。作為巴西藝術(shù)家安東尼奧·奧巴在亞洲的首次個展，展覽將通過包括布面油畫、紙本繪畫及裝置在內(nèi)的二十余件作品，探究藝術(shù)家對殖民主義和身份認同的長期關(guān)注。

X Museum is delighted to present 'Antonio Obá: Fables' , the first solo exhibition in Asia by the acclaimed Brazilian artist Antonio Obá. Running from December 19th, 2021 until March 20th, 2022, the exhibition will showcase a body of works, including oil on canvas, ink on paper and installation, which illuminate the artist’s ongoing exploration of colonial history and identity.

安東尼奧·奧巴的作品研究了巴西文化建構(gòu)中所產(chǎn)生的影響和存在的矛盾。他的近期實踐以種族偏見、宗教信仰、家庭記憶為線索，對巴西歷史與文化中極具殖民意味的標志性事件進行回溯與反思，試圖討論歷史與社會因素如何建構(gòu)并解構(gòu)個人身份，以及微觀敘事同宏觀意識形態(tài)如何超脫時空、種族，從而相互滲透、發(fā)展、衍變。在奧巴的新系列作品中，西方猶太基督教傳統(tǒng)中的象征主義意象與在南美因黑奴歷史而孕育的同步宗教元素得以糅合，使殖民者形象與非裔離散文化虛實交錯地合為一體。藉由這些紛繁的符號引用與超現(xiàn)實的意象重組，奧巴將復(fù)雜沉重的殖民歷史轉(zhuǎn)譯為直觀明了的視覺陳述，以揭示西方殖民主義的共有弊?。簷?quán)力的不平等與政治的不透明。

The artwork of Antonio Obá investigates the relationships and contradictions within Brazil’s cultural heritage. Taking ethnic prejudice, religiosity, eroticism, and family memories as clues, Obá’s most recent practice revisits and reflects on landmark events in Brazilian history and culture. It examines colonial implications and addresses the ways in which historical and social factors can both construct and deconstruct personal identity, as well as exploring how individual personas and collective ideologies can transgress the boundaries of time, space and race, thus intricating, interpenetrating and infusing with each other. In the artist’s new body of works, symbolic imagery from the western Judeo-Christian tradition is cross-pollinated with syncretic religious elements nurtured in South America through the history of black slavery, connecting colonial figures and diasporic Afro-descendant cultures in a fusion of reality and fiction. Through a myriad of symbolic references and surreal reconstructions of imagery, Obá translates the complexities of an onerous colonial history into intuitionistic visual statements that unveil the universal wrongs of colonialism from ancient times to the present: the inequality of power and the opacity of politics.

身體作為藝術(shù)家探索殖民主義與個人身份的主要對象，貫穿了安東尼奧·奧巴的創(chuàng)作實踐。從布面油畫到紙本水墨，從裝置到表演，奧巴視身體為一種堅持存在的抵抗方式，將或具象或升華的身體證據(jù)，在神性與禁忌、歷史與傳統(tǒng)所勾勒的敘事中鋪陳開來。奧巴關(guān)注跨種族的、黑人的身體——被殖民主義利用且抹去的身體。這些在殖民歷史中不自由的勞動商品，在其進入并根植于南美大陸的過程中，成為了身份輯合和文化離散的承載者。奧巴的創(chuàng)作試圖展現(xiàn)肉身的轉(zhuǎn)瞬即逝如何被書寫成為霸權(quán)主義的歷史，以及人的存在如何超越人類身體、記憶和歷史的界限，一旦被觸發(fā)便無法隱匿。

In exploring the tensions between colonial history and personal identity, the body is the central subject for Antonio Obá’s practice; the inquiries into the body pervades the multiple mediums of the artist’s work. From oil on canvas to ink on paper, from installation to performance, Obá treats the body as a gesture of resistance that asserts its existence in the history; he exhibits the evidence of the body, either figurative or subliminal, in a narrative demarcated by rituals and prohibitions, histories and traditions. Obá focuses on the miscegenated, black body — the body that was exploited, abused and overlooked by colonialism. These bodies, which were mere commodities of labour and captives, became bearers of a unique, syncretic identity; enslaved in the colonial past, they served as inheritors of a diasporic culture as they integrated into and became established in the South American continent. Obá’s compositions seek to unveil the way in which the transience of the corporeal is written as a history of hegemony, and how human existence transcends the boundaries of body, memory and history, and ultimately becomes inextinguishable once ignited.

安東尼奧·奧巴的創(chuàng)作通過對過去與回憶的重訪，以喚醒身體中回蕩的、超越時間性的語言。展覽標題“寓言”象征著藝術(shù)家對自我梳理與書寫過程的一次總結(jié)：“寓言”中的每件作品都喻示著一種關(guān)乎道德的訴說和思考；在這其中，歷史成為了一種寓言式的現(xiàn)實。奧巴將自我民族志的強調(diào)作為對霸權(quán)主義的抵抗，它詩意地揭開了不同主體性的矛盾，縫合起過去與當下，通過啟動一場對話的、織構(gòu)的故事講述，來回應(yīng)什么是被殖民的身體、什么是錯雜的黑人身體。展覽中的作品均以直接或間接的方式重現(xiàn)著殖民過往中的人和事，在對身份起源的探尋之中，帶給人們?nèi)缤⒀园愠灥?、象征性的道德感知與情感共鳴。

By revisiting memories of the past, Antonio Obá’s work evokes a language that reverberates in the body and transcends the temporal. The title of the exhibition, 'Fables' , expresses the artist's journey of self-referencing and writing: each work in 'Fables' serves as a metaphor for a moral statement or reflection, in which history becomes an allegorical reality. Obá’s spotlight on autoethnography as a counteraction to hegemony poetically unravels the contradictions of different subjectivities, connecting the past and the present, by initiating a dialogue and weaving a polyphonic narrative that responds to the essential understanding of inhabiting in a colonised body and inhabiting in a miscegenated, black body. The oeuvre of this exhibition recreates, directly or indirectly, individuals and incidents from the colonial past; like fables, they bring a transcendental, archetypal, symbolic moral perception and emotional resonance in the search for the origins of identity.

關(guān)于藝術(shù)家 About the Artist

安東尼奧·奧巴（生于1983年，塞蘭蒂亞），現(xiàn)生活并工作于巴西利亞。

安東尼奧·奧巴的作品研究了巴西文化建構(gòu)中所產(chǎn)生的影響和存在的矛盾，并由此引發(fā)對民族身份的抵抗和反思。奧巴將巴西文化中的象征符號作為種族和政治身份的影射，通過雕塑、繪畫、裝置和表演等媒介反思標志性的歷史事件和宗教主題。

安東尼奧·奧巴的近期個展舉辦于Mendes Wood DM 畫廊（布魯塞爾，2021；圣保羅，2019；紐約，2018）。他的作品參加過諸多大型機構(gòu)的群展、雙年展，包括巴黎皮諾收藏博物館（巴黎，2021）；蒙彼利埃當代藝術(shù)博物館（蒙彼利埃，2020）；第三十六屆巴西藝術(shù)全景展（圣保羅，2019）；圣保羅藝術(shù)博物館（圣保羅，2018）；大竹富江藝術(shù)中心（圣保羅，2018）；里約藝術(shù)博物館（里約熱內(nèi)盧，2018）；PIPA當代藝術(shù)獎（里約熱內(nèi)盧，2017）等。

Antonio Obá (Ceilandia, 1983) lives and works in Brasília.

Antonio Obá investigates the influence and contradictions within the cultural construction of Brazil, giving rise to an act of resistance and reflection on the idea of national identity. Obá utilizes icons present in Brazilian culture as allusions to racial and political identity, these iconic historical and sometimes religious subjects are explored within his sculpture, painting, installations, and performance.

Antonio Obá’s recent solo exhibitions are held at Mendes Wood DM (Brussels, 2021; S?o Paulo, 2019; New York, 2018). His works have been included in group exhibitions such as TUYMANS – CAHN – OBA, Bourse de Commerce – Pinault Collection, Paris (2021); Possédé·e·s, MO.CO, Montpellier (2020); 36o Panorama da Arte Brasileira, MAM, S?o Paulo (2019); Histórias Afro-Atlanticas, MASP / Tomie Ohtake, S?o Paulo (2018); Arte Democracia Utopia - quem n?o luta tá morto, MAR, Rio de Janeiro (2018); Pipa Prize 2017, Museu de Arte Moderna, Rio de Janeiro (2017).

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鳴謝 Acknowledgement

感謝Polestar極星及Brunello Cucinelli對本次展覽提供的慷慨支持。本次展覽的公共項目由PHILLIPS富藝斯冠名支持。同時特別鳴謝X美術(shù)館理事會X Men以及年輕理事會X Citizen成員對X美術(shù)館給予的大力支持。

X Museum thanks Polestar and Brunello Cucinelli for their generous support for the exhibition. 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.