“我们奇怪地习惯于要求艺术家消掉他们的声音”

“奇怪的日子”。180街展览的题目——纽约新博物馆和x店乙烯工厂的合作——可以参考凯瑟琳·毕格罗开创的、令人费解的、同名的1995年科幻惊悚片,或者1967年的门边专辑。在这次展览的背景下,运动图像、流行音乐和当代艺术之间不断产生巨大的共鸣,而这次展览是由过去10年在新博物馆展出的视频作品组成的,新博物馆馆长马西米利亚诺?吉奥尼谦虚地描述了这些作品。
S:《过去10年的视频艺术的小而部分的历史》。
以21位国际艺术家的作品为特色的《陌生的日子:对未来的记忆》跨越了新兴实践——比如黄平的粗糙的动画心理喜剧——到过去十年的偶像,比如卡米尔·亨罗特的《格罗斯疲劳》(2013)——为了这个,这位艺术家赢得了一枚银狮奖。
他2013双年展(Gioni的导演版)。GROSE疲劳-一个诙谐,视觉复述创造神话通过对象-声音跟踪由委托说唱轨道。在隔壁房间里,Ed Atkins的作品在埃尔维斯的脑海中不断涌现。在这两间屋子之间,一部电影发出的声音非常微弱地流入相邻房间的空间,引导着参观者穿过有时(有意识地)迷宫般的设施。
吉奥尼说,虽然之前在2016年《180街》的《无限混合》中放映的视频作品广受好评,但每部多媒体作品都是在自己的“封闭的胶囊”内放映的,他希望《陌生的日子》能够“更有叙事性”。“音乐就像一根线,”他继续说,“所以你在空间里不断前进。”
B-BODY-1.JPG WPA6021602IMG Kahlil Joseph,飞纸,2017。安装视图:商店X柏林,2018。照片:杰克·赫姆斯·音乐、视频艺术和声音之间的相互关系在卡莉尔·约瑟夫的《蝇报》(2017)放映的房间里加强——这是它第一次在英国放映。约瑟夫早期的视频作品《无穷混合》中的杰出人物m.A.d.(2014)最初是由Kendrick Lamar委托在说唱歌手在Kanye West的《Yeezus Tour》中出场时进行放映的,采用“说唱的时空拼贴”,混合了每一部纪录片的片段。康普顿黑人社区的日常生活与拉马尔叔叔拍摄的家庭录像',如乔纳森P.瓦茨在弗里兹杂志写道。
在《蝇报》中,约瑟夫将注意力转向另一个黑人文化领域——哈莱姆,他交织着他的家庭生活(尤其是照顾他生病的父亲的时期)和爵士摄影师罗伊·德·卡拉瓦的生活。也许艺术家已经意识到的最雄心勃勃的声音场景——在演出开始那天,音量仍在调整——体验作品就如同听到爵士萨克斯管中音和感觉到低音扬声器振动一样。这是不妥协的,但这对Gioni来说是至关重要的。我们很奇怪地认为你可以让一个艺术家消掉他们的声音。但是你永远不会要求艺术家改变画面,或者改变电影的光线。高清视频安装,声音。礼貌:艺术家Fly Paper将精心编排的舞蹈场景(在新博物馆附近的阁楼拍摄)、哈莱姆夜生活的黄昏景色、发现的片段和家庭视频混合在一起的狂想曲,总体上都预示着“陌生的日子”,Gioni说:“这种品质。”不同的格式和技术组合在整个展览中体现出来。吉奥尼指出,家庭录像和发现的片段,尤其是家庭录像的作用,切中了他试图在节目中讲述的一个故事的核心:家庭录像,也许像流行音乐一样,非常个人化和亲密,同时提供了直接的情感联系(今天没有不记得他们的过去至少部分是通过录音?对Gioni来说,特别吸引人的是这个动态的地方位于一个技术媒介内,而技术常常与一种冷漠、大量匿名联系在一起。Gioni说:“你可以说,我们都在技术上做梦”,或者说,在Kahlil的例子中,“黑白”。以同样的方式,我们都在录像中记住。这样看来,Gioni似乎认为,这些作品共同构成了集体记忆的一种翻译。“从某种意义上说,”他总结道,“它们都是梦”。
为了庆祝卡莉·约瑟夫在《陌生的日子:未来的记忆》中的英国首映,弗雷泽·伦敦,商店X和乙烯厂于周六推出了弗雷泽音乐与邦格和奥卢夫森,展出了桑帕、阿奈斯、格雷斯·威尔斯·邦纳和詹姆斯·威利亚的系列演出。
m Blades。sign._logo_black.png ‘We Are Strangely Used to Asking Artists to Turn Down Their Sound’ - 我们奇怪地习惯于要求艺术家拒绝他们的声音。公众可获得的门票数量有限。在Instagram上查看@ FielZeStExchange以获取更多细节。Matthew McLean是英国伦敦的一名作家和编辑。赞助内容/乙烯厂新博物馆-商店工作室

FRIZE特稿 ARThing编译

 

‘Strange Days’. The title of the exhibition at 180 Strand - a collaboration between New York’s New Museum and The Store x Vinyl Factory - could refer to Kathryn Bigelow’s pioneering, critically-baffling 1995 Sci-Fi thriller which shares the same name: or the 1967 album by the doors, which does as well.

A sense of the capacious resonances between moving image, popular music and contemporary art is constantly playing in the background, as it were, of this exhibition, made up of video works shown at the New Museum over the last 10 years, which New Museum Director Massimiliano Gioni modestly describes as: ‘a small and partial history of the video art over the last 10 years’. Featuring the work of 21 international artists, ‘Strange Days: Memories of the Future’ spans emerging practices - like the scabrous animated psycho-comedy of Wong Ping – to icons of the last decade, such as Camille Henrot’s Grosse Fatigue (2013) - for which the artist won a Silver Lion at the 2013 Biennale (the acclaimed edition of which Gioni was Director). Grosse Fatigue - a witty, visually retelling of creation myths through objects – is sound-tracked by a commissioned rap track. In the next room, Ed Atkins’s work crescendos with a blast of ‘Always on My Mind’ by Elvis. Between these two rooms the sound from one film bleeds ever so slightly into the space of the adjacent room, leading the visitor on through the sometimes (consciously) labyrinthine installation. While a previous, acclaimed show of video work at 180 Strand, 2016’s ‘The Infinite Mix’, presented each multimedia work within its own ‘closed capsule’, Gioni says he wanted ‘Strange Days’ to ‘feel more narrative’. ‘The music is like a thread’, he continues, ‘so you keep progressing in the spaces’.

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‘We Are Strangely Used to Asking Artists to Turn Down Their Sound’ - 我们奇怪地习惯于要求艺术家拒绝他们的声音。

Kahlil Joseph, Fly Paper, 2017. Installation view: The Store X Berlin, 2018. Photo: Jack Hems

The interrelation between music, video art and sound intensifies in the room where Kahlil Joseph’s Fly Paper (2017) is screened - the first time it is being shown in the UK. Joseph’s earlier video work, m.A.A.d. (2014), a standout of ‘The Infinite Mix’, was originally commissioned by Kendrick Lamar to screen during the rapper’s appearances on Kanye West’s ‘Yeezus Tour’; employing ‘the temporal-spatial collage of rap, mixing documentary footage of everyday life in Compton’s black community with home video shot by Lamar’s uncle’, as Jonathan P. Watts wrote in frieze magazine. For Fly Paper, Joseph turns his attention to another foundational black cultural quarter, Harlem, interweaving his family life (in particular, a period caring for his ill father) and the life of jazz photographer Roy De Carava.

Possibly the most ambitious soundscape the artist has realized – levels were still being adjusted on the day of the show’s opening – experiencing the work is as much a question of hearing the alto of a jazz saxophone and feeling the subwoofers vibrate. It’s uncompromising, but it was essential for Gioni. ‘We are strangely used to thinking you can just ask an artist to turn down their sound. But you would never ask an artist to change the picture, or the light level of the film.’

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‘We Are Strangely Used to Asking Artists to Turn Down Their Sound’ - 我们奇怪地习惯于要求艺术家拒绝他们的声音。

Kahlil Joseph, Fly Paper, 2017 (still). HD video installation, sound. Courtesy: the artist

Fly Paper’s rhapsodic mingling of exquisitely choreographed dance scenes (shot in a loft adjacent to the New Museum), crepuscular views of Harlem nightlife, found footage and home video is indicative of ‘Strange Days’ overall, Gioni says: ‘this quality of different formats and technologies that are combined is reflected throughout the exhibition’. The role of home video and found footage, in particular, Gioni notes, cuts to the heart of one of the stories he is trying to tell in the show: home videos being, like pop music perhaps, deeply personal and intimate, and at the same time providing an immediate emotional connection (who today doesn’t remember their past at least partly through recordings of it?) What is particularly fascinating for Gioni is that this dynamic place is located within a technological medium, contrary to technology being frequently associated with a kind of cold, mass anonymity. ‘You could say that “We all dream in Technicolour” – or, in Kahlil’s case, black and white’, Gioni reflects. ‘In the same way, we all remember in video’. In this way, Gioni seems to suggest, the works taken together constitute a kind of translation of collective memory. ‘In a sense’, he concludes, ‘they are all dreams’.

To celebrate the UK premiere of Fly Paper by Kahlil Joseph in ‘Strange Days: Memories of the Future’, Frieze London, The Store X and Vinyl Factory present Frieze Music with Bang & Olufsen, on Saturday 9th, featuring sets and performances by Sampha, Anais, Grace Wales Bonner and James William Blades.

A limited number of tickets will be available to the public. Check @friezeartfair on Instagram for more details.

Matthew McLean

Matthew McLean is a writer and editor based in London, UK.


 




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