Condo Unit Athens 2018 比艺术节拥有更多群展,共享画廊展登录雅典

比艺术节拥有更多群展,共享画廊展登录雅典

Condo Unit Athens runs at The Breeder until 24 November 2018.

Main image: Stéphanie Saadé, Accelerated Time, 2014, installation view, The Breeder, Athens. Courtesy: Grey Noise Gallery, Dubai; photograph: Athanasios Gatos

Izabella Scott

Izabella Scott is a writer based in London. Her work has been published by FT Weekend, The White Review, The Photographers’ Gallery, Litro and ASX.

Izabella Scott是伦敦的作家。《FT周末》《怀特评论》《摄影师的画廊》《Litro与ASX》撰稿人。

共享画廊展于2016年在伦敦开始,试图在常规的艺术模式之外形成一个以画廊结构为主体的,艺术行业中的“couch surfing”——一种国际性质的免费互助,年轻的商业画廊为其国际同行们提供地板和墙面的展示空间,分享联系和扩展国际网络,而无需缴纳参加艺术博览会的高昂费用。共享画廊已经走向了全球,在纽约,墨西哥城和上海都有产生销售,参与者人数正在增加:去年在纽约,16家曼哈顿画廊接纳了从中国到墨西哥的20家海外画廊。其中,总部位于伦敦的Carlos / Ishikawa画廊是常设参展机构:Condo共享画廊展即由其联合创始人Vanessa Carlos建立。

More Group Show Than Art Festival, Condo Unit Lands in Athens - 组团演出比艺术节多,公寓单位在Athens

‘Condo Unit Athens雅典共享画廊展’, 2018, installation view, The Breeder, Athens. Courtesy: The Breeder, Athens; photograph: Athanasios Gatos。

我记得参加了第一次迭代—— 一场漫长的观展,观众在整个城市的场地之间徘徊。由于伦敦的规模,它感觉就像一场马拉松。也许这就是为什么今年已经简化了这个概念:共享画廊单元,在一个独立的场地,更像是一个群展,而不是一个艺术节。这种新模式于今年4月首次在圣保罗开始,目前正在雅典举行,其中The Breeder“育种者”将举办7个国际画廊共同的展览。

The Breeder“育种者”成立于2002年,最初是由Gorge Vamvakidis和Stathis Panagoulis经营的艺术杂志。六年后,画廊在Metaxourgeio的一条鹅卵石街道上接管了一家废弃的20世纪70年代冰淇淋工厂,这里曾是工业区。混凝土建筑被改造成优雅的展览空间,有三层楼和一个屋顶露台。在2008年9月画廊开幕前一周,全球金融的崩溃改变了世界,十年后人们才能完全感受到这些的事件,称之为所谓的“危机”。这些地区现在是雅典市中心较为落后的地区之一,也是一个集中的红灯区;研究表明,仅2008年至2012年,该市的性工作者人数就增加了150%。

进入他们的空间,你会发现三个共享一楼的画廊:KönigBerlin,Raster of Warsaw和Carlos / Ishikawa。沿着后墙是Ed Fornieles的新作品,The Crypto Certificate《加密证书》(2018),它采用Ed Fornieles Studios投资项目的宣传视频形式,以及随后的证书。现在位于雅典,Fornieles提供的艺术家版画兼加密货币证书,购买价格相当于550欧元。屏幕旁边有一个样本,其柔和色彩的水印让人想起节日门票。

More Group Show Than Art Festival, Condo Unit Lands in Athens - 组团演出比艺术节多,公寓单位在Athens

Rinus Van de Velde, ‘Condo Unit Athens’, 2018, installation view, The Breeder, Athens. Courtesy: KÖNIG GALERIE, Berlin/London; photograph: Athanasios Gatos。

在一楼的另一处是比利时艺术家Rinus Van de Velde的五幅大型木炭画,由König代表:模糊,污迹的场景,有绘画的幻觉。其中一个,他只说了两件事(2018年),两个人坐在篝火旁,沉思地凝视着火焰。 Van de Velde在每幅画的下方插入一行文字,充满了Jack Daniels威士忌广告的虚假怀旧风格。 '...我唯一可以教给你的是,那些声音最大的人唱的最多......'读到这些,你会觉得有种故意的甜得发腻。

Raster画廊艺术家的一组雕塑完成了底层三人组。最简单的解码是Janek Simon的系列'Polyethnic'(2016)。每个约60厘米高,他们包括准民族志物品,借鉴民间和部落艺术 - 西蒙使用3D打印机在家里制作它们。有一个男人头上有一只鸟,还有一个卡利式的六臂手臂。

朝向同一空间的中心是新达达集体斯拉夫人和鞑靼人的两件作品,也由拉斯特代表。他们在2005年由波兰 - 伊朗二人组成共同创立,致力于破坏语言稳定并破坏品味,试图通过他们所谓的“欧亚”观点来观察世界。在The Breeder展出的是羊毛地毯,Qatalogue(2018),它描绘了一个拉长的猩红色舌头,卷曲了斯拉夫字母表中偷来的七个字母。在它左边的底座上是Hung and Tart(2016),一个琥珀色和甜菜根粉红色的玻璃物体,看起来介于假阳具和化石舌头之间。

More Group Show Than Art Festival, Condo Unit Lands in Athens - 组团演出比艺术节多,公寓单位在Athens

Fiona Banner (the Vanity Press), Buoys Boys, 2018, installation view. Courtesy: Galerie Barbara Thumm, Berlin; photograph: Athanasios Gatos。

楼上有两个独立的空间分别是 - 迪拜的Gray Noise画廊和柏林的Barbara Thumm画廊。后者提供了最好的作品,一个几乎完全由Fiona Banner接管的空间,在她的印记The Vanity Press下工作,玩弄手势,标牌和异化。 Blind Texts(2018)是各种尺寸的丝绸窗帘,一些放在展示架上,另一些从上面松散地悬挂,并且印有假文字或放大的标点符号。在窗帘之间挂着两幅油画,两幅都标题为Full Stop Seascape(2018),其中Banner在海洋中绘制了超现实的完整停靠点,像圆形浮标一样漂浮。对于这两者,她研究了发现的航海绘画,用标点符号代替纪念船。黑点有一个终结点,反映了受管制的边界和反转的船只。

在2009年希腊金融危机之后,一大批艺术家从中欧搬到了雅典,以便充分利用廉价租金。与此同时,越来越多的移民抵达希腊海岸,逃离东部的战争和贫困。在The Breeder楼下的房间里,我们努力确定沿着Occident-Orient二进制文件的共同主题,并展示出一些展览的总体主题:民族志;边界和海洋。艺术:概念,巴黎,与Dastan的地下室,德黑兰的商业画廊同居下层空间。 Caroline Achaintre的标志性毛茸茸悬挂在一面墙上,标题为BiaUltra(2017),由手工簇绒羊毛编织而成。深栗色,奶油色和青铜色灰色的线条在毛茸茸的原始主义中融合在一起。与此相邻的是Ghasemi Brothers的18个石油海景,这是来自伊朗北部里海港口城市Bandar-e Anzali的三个兄弟姐妹的集体。这是兄弟们第一次在他们的故乡之外展示。他们的画作沿着一面墙挂在沙龙式,每个都有不同的形状和大小。其中一艘渔船上塞满了粉红色的尸体;很难看出这是一个假日场景,还是一场危机,但是笔触会产生一种疯狂的能量,这使得大海波涛汹涌,身体模糊不清。在右边的一幅画中,一个男人在海水中腰深,他周围的岩石呈现出皮肤般的色调。

当我离开时,我回过头来看看The Breeder的外观,它被海洋旗帜的棋盘所覆盖,这是希腊艺术集体Arbit City的作品,它散发出一种混乱的信息。耸立在无云的蓝天上的是三个氦气球从他们的绳索上伸展开来 - 条幅静止的垂着,现在气球是待充气状态,看起来即不幸又有点快乐。

More Group Show Than Art Festival, Condo Unit Lands in Athens

Condo began in London in 2016 as an attempt to form a network of galleries outside of the fair model. In the industry equivalent of couch surfing, young commercial galleries offered floor and wall space to their international colleagues, sharing contacts and extending international networks, without the associated costs of participating in an art fair. Condo has since gone global, with editions in New York, Mexico City and Shanghai, and the pool of participants is growing: in New York last year, 16 Manhattan galleries hosted 20 others, from China to Mexico. Among it all, London-based gallery Carlos/Ishikawa is a constant feature: Condo was established by its co-founder Vanessa Carlos.

More Group Show Than Art Festival, Condo Unit Lands in Athens - 组团演出比艺术节多,公寓单位在Athens

‘Condo Unit Athens’, 2018, installation view, The Breeder, Athens. Courtesy: The Breeder, Athens; photograph: Athanasios Gatos。

I remember attending the first iteration – a sprawling affair, which had viewers zigzagging between venues across the city. Because of London’s scale, it felt like a marathon. Perhaps this is why, this year, there has been a simplification of the concept: Condo Unit, which takes place in a singe venue, is much more like a group show than an art festival. The new model first opened in São Paulo this April, and is currently taking place in Athens, where The Breeder is hosting seven international galleries.

Founded in 2002, The Breeder began as an art magazine, run by Gorge Vamvakidis and Stathis Panagoulis. Six years in, the gallery took over an abandoned 1970s ice cream factory on a cobbled street in Metaxourgeio, once the district of craftsmen. The concrete building was reworked into elegant exhibition space with three floors and a roof terrace. A week before the gallery opened in September 2008, the global financial collapse altered the world, events that would only be fully felt ten months later, in what is still known as The Crisis. What was then an upcoming area is now one of the rougher parts of central Athens, and a concentrated red light district; studies show, the number of sex workers in the city increased by 150% from 2008–2012 alone.

Entering their space and you will find three galleries sharing the ground floor: König Berlin, Raster of Warsaw and Carlos/Ishikawa. Along the back wall is a new work by Ed Fornieles, The Crypto Certificate (2018), which takes the form of a promo video for an investment programme in Ed Fornieles Studios, and the ensuing certificate. Now based in Athens, Fornieles is offering artist’s edition that also doubles as a cryptocurrency certificate, purchased for the equivalent of EUR€550. An example is framed beside the screen, its pastel-colour watermarks reminiscent of a festival ticket.

More Group Show Than Art Festival, Condo Unit Lands in Athens - 组团演出比艺术节多,公寓单位在Athens

Rinus Van de Velde, ‘Condo Unit Athens’, 2018, installation view, The Breeder, Athens. Courtesy: KÖNIG GALERIE, Berlin/London; photograph: Athanasios Gatos。

Elsewhere on the ground floor are five large charcoal drawings by Belgian artist Rinus Van de Velde, represented by König: blurry, smudged scenes which have the illusion of paintings. In one, He only said two things (2018), two men sit around a campfire staring pensively into the flames. Van de Velde inserts a line of text along the lower side of each drawing, imbued with the faux-nostalgia of a Jack Daniels whisky advert. ‘…The only thing I can teach you is that the ones with the rawest voice sang the most…’ reads this one, knowingly saccharine.

A group of sculptures by Raster gallery artists complete the ground floor trio. The easiest to decode are Janek Simon’s series ‘Polyethnic’ (2016). Each around 60cm high they comprise quasi-ethnographic objects, drawing on folk and tribal art – Simon has made them at home using a 3D printer. There is a man with the head of a bird, and a Kali-esque figure with six arms.

Towards the centre of the same room are two works by the neo-dada collective Slavs and Tatars, also represented by Raster. Co-founded by a Polish-Iranian duo in 2005, they work to destabilize language and undermine taste, attempting to view the world though what they call a ‘Eurasian’ viewpoint. On show at The Breeder is woolen carpet, Qatalogue (2018), which depicts an elongated scarlet-red tongue that curls around seven letters stolen from the Slavic alphabet. On a plinth to its left is Hung and Tart (2016), a glass object streaked with amber and beetroot-pink, that looks somewhere between a dildo and a fossilized tongue.

More Group Show Than Art Festival, Condo Unit Lands in Athens - 组团演出比艺术节多,公寓单位在Athens

 Fiona Banner (the Vanity Press), Buoys Boys, 2018, installation view. Courtesy: Galerie Barbara Thumm, Berlin; photograph: Athanasios Gatos。

Upstairs, two galleries are each given a room of their own – Grey Noise, Dubai and Barbara Thumm, Berlin. The latter offers the best works yet, a room almost entirely taken over by Fiona Banner, working under her imprint The Vanity Press, playing with gesture, signage and alienation. Blind Texts (2018) are silk drapes of various sizes, some held in display stands, others hanging loosely from above, and which have been printed with dummy text or enlarged punctuation marks. Between the drapes are hung two oil paintings, both titled Full Stop Seascape (2018), in which Banner has painted surreal full stops in the ocean that float like circular buoys. For both, she worked onto found nautical paintings, replacing commemorative ships with punctuation marks. There is a finality to the black dot, a reflection of policed borders and boats that are turned back.

After the Greek financial meltdown of 2009, a surge of artists moved to Athens from central Europe in order to make the most of the cheap rents. At the same time, growing numbers of migrants arrived on Greek shores, fleeing war and deprivation in the east. In The Breeder’s downstairs room, there’s an effort to identify shared subject matters along the Occident-Orient binary, and the display teases out some of the exhibition’s overarching themes: ethnography; borders and seas. Art: Concept, Paris, cohabit the lower space with Dastan’s Basement, a commercial gallery from Tehran. Alone on one wall, a signature hairy hanging by Caroline Achaintre, titled BiaUltra (2017), is woven from hand-tufted wool. Threads of dark maroon, cream and gunmetal grey come together in shaggy primitivism. Adjacent to this are 18 seascapes in oil by the Ghasemi Brothers, a collective of three siblings from Bandar-e Anzali, a port city on the Caspian Sea in the north of Iran. It’s the first time the brothers have shown outside of their native land. Their paintings are hung in salon-style along one wall, each a different shape and size. In one, a fishing boat is stuffed with pink bodies; it’s hard to see if this is a holiday scene, or a crisis, but there’s a frantic energy to the brushstrokes, which render the sea choppy and the bodies blurred. In a painting to the right, a man is waist-deep in seawater, the rocks around him rendered in skin-like tones.

As I leave, I turn back to look at The Breeder’s façade, which is covered in a chequerboard of maritime flags, a work by the Greek art collective Arbit City, which emits a scrambled message. Framed against the cloudless blue sky are three helium balloons stretching off their ropes – Banner’s full-stops, now inflatable markers, at once ominous and blithe.

FRIZE特稿 ARThing编译


ARThing 追踪|Tracking - 3 /3

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