Slanted and Enchanted: Oriane Durand on the Year in Shamanism and Superstition – 倾斜和迷惑:奥利安·杜兰德在萨满教和迷信年度

​In 2018, I found myself drawn to shows dealing with magic and shamanism, and so I look back at the year with a sense of enchantment. Tender entanglements of dystopian visions and individual mytholo-gies are part of a recent artistic trend characterized by hybridity, transformation and a belief in material.

I was deeply impressed by Paul Spengemann’s ‘Whoa, Hoo-ah Huh!’ at the Artothek in Cologne. In the single, large room, Spengemann installed a projector and projected a loop, roughly ten minutes long. In the video, the shadow of a dragon swings back and forth. For a moment, the shadow’s tail strokes the edge of the frame. Then the dragon flies away, disappears from the projection for a few seconds and eventually returns as a shadow. The sound of fluttering wings and the dragon’s wheezing come at you from all sides; the beast is nearby. The use of special effects is relatively slight, especially when one considers that dragons are the most expensive creatures Hollywood animates. Spengemann used an open-source 3D software for the animation, and likewise an open-source plugin for the sound, which transforms the artist’s voice into that of a predator. In the end, the dragon is overwhelmed by an avalanche of stones. But thanks to the loop, he soon rises again like a phoenix from the ashes. After I left the exhibition, I was walking along the Kölner Dom and suddenly felt like the gargoyles above would descend from their stony perches to get a bite of me.

paul_spengemann_videostill_whoa_hoo-ah_huh_2018_hd-video_4-channel-sound_930_min_loop4.jpg

Slanted and Enchanted: Oriane Durand on the Year in Shamanism and Superstition - 倾斜和迷惑:奥利安·杜兰德在萨满教和迷信年度

Paul Spengemann, Whoa, Hoo-ah, Huh!, 2018, video still. Courtesy: the artist 

In this spectrum of the magical and sinister, Korakrit Arunanondchai’s ‘With history in a room filled with people with funny names 4’ – an immersive installation of sculptures, sounds, and videos at the J1 in Marseille – animated the ocean floor, or rather the ‘historic sediment [of Marseille]’ and ‘the layers of civilization it consists of’, to quote the exhibition text. Several sculptures of clams and ocean debris were distributed over a floor covered in tar-like soil. They seemed lost in the enormous warehouse. Some of the piles took the shape of sea creatures with human faces. It seemed as though the ocean had drawn itself back, revealing its contents. One encountered petrified forms, perhaps leftovers from our history, or maybe creatures revived after a period of mummification. The objects on view seemed to be in a transient state. The temporalities of Arunanondchai’s installation opened up my imagination for many scenarios, from the dystopian to the most transformative. I was reminded of Colm McCarthy’s film The Girl with all the Gifts (2016), and specifically of all the possibilities that open up for a girl when she’s half-human, half-zombie. The greatest transformations aren’t necessarily determined by technology.

web_raphaela-vogel.jpg

Slanted and Enchanted: Oriane Durand on the Year in Shamanism and Superstition - 倾斜和迷惑:奥利安·杜兰德在萨满教和迷信年度

Raphaela Vogel/Paul Sochaki, 2018, installation view, Leopold-Hoesch-Museum, Düren. Courtesy: the artists and Leopold-Hoesch-Museum, Düren; photograph: Peter Hinschläger

Not far from Cologne, the Leopold-Hoesch-Museum in Düren presented a two-person show of Paul Sochacki and Raphaela Vogel in fall. (I knew Raphaela Vogel’s work well since I curated her first solo exhibition, at the Bonner Kunstverein, in 2015.) The contrast between the two positions managed to create a special intensity for me. Paul Sochacki’s paintings often have clear political messages, though their pastel colours are soft and the lines tremble with lightness. Sometimes the characters and objects depicted felt like they were floating in the canvas; at others, they seemed isolated, abandoned. Raphaela Vogel’s installations, installed in alternation with Sochacki’s fine paintings, are sometimes monumental, sometimes not, sometimes with, sometimes without projection, but they are always one thing: loud. Colours (mostly dark and earthy), materials (animal skins or dripping plastics), objects (hookahs, tombstones, or animal skulls) – everything points back to a shamanic vocabulary. Like a sorcerer trying to drive out pain and desire, Vogel dives into the dark side in order to create works with an extremely expressive power. Two individual mythologies that each question power relations in their own way: on one hand, an ostensible naiveté painting heavy themes under a veil of tenderness, on the other a wild scream, the result of a confrontation between technology and an archaic, animalistic force. Like the story of the planets Anarres and Urras in Ursula Le Guin’s Dispossessed (1974) – whose death marked the beginning of 2018 – the exhibition lets two worlds collide.

korakrit-arunanondchai-with-history-in-a-room-filled-with-people-with-funny-names-4-installation-au-j1-marseille-01.jpg

Slanted and Enchanted: Oriane Durand on the Year in Shamanism and Superstition - 倾斜和迷惑:奥利安·杜兰德在萨满教和迷信年度

Korakrit Arunanondchai, With history 4, 2018, installation view, J1, Marseille. Courtesy: J1, Marseille; photograph: James Ruffato

The year ended for me with the dark, surreal, and delirium-filled exhibition ‘Bonaventura Jannis Mar-witzle’ by Jannis Marwitz at Damien & The Love Guru in Brussels. The German artist’s paintings achieve an extreme density of colour and form: the green in the birth of Venus in Ohne Titel (2018) seems greener than green; the pink in Der Hurrikane (2018) is more than pink; and the eyes in the portrait Ohne Titel (2018) are more than eyes. The paintings feel like they’re exploding in their abundance of detail, makeup, and exaggerations. Like a magic cauldron, filled with brew of over 5000 years of art history, Marwitz tries to accommodate a whole database in a limited two-dimensional surface. His paintings create an allegory for the internet that forces my gaze into an unhealthy hypertrophy while hypnotizing me with their disturbing humour.

Main image: Jannis Marwitzle, Untitled (detail), 2018. Courtesy: the artist, Damien & The Love Guru, Brussels and Lucas Hirsch, Düsseldorf; photograph: Alexey Shlyk

Oriane Durand

Oriane Durand is a French curator, author and the director of Dortmunder Kunstverein, Germany.

Opinion /

Oriane Durand
dortmunder kunstverein
Mythology
Damien The Love Guru
Looking Back 2018


在2018年,我发现自己被处理魔法和萨满教的节目所吸引,所以我带着一种迷人的感觉回顾这一年。反乌托邦的幻象和个人神话的温柔纠缠是最近艺术潮流的一部分,其特点是杂合、变换和对物质的信仰。保罗·斯宾格曼的《哇,哇,哈!“在科隆的亚瑟斯克。”在单人间,斯宾格曼安装了一台投影仪,投影了一个大约十分钟长的环。在视频中,龙的影子来回摆动。片刻,影子的尾巴拍打着框架的边缘。然后,龙飞走了,从投影中消失了几秒钟,最终以阴影的形式返回。翅膀飞舞的声音和龙的喘息声,从四面八方都临到你们。特技的使用相对来说比较少,尤其是考虑到龙是好莱坞动画中最昂贵的生物时。Spengemann使用开源的3D软件制作动画,同样使用开源的声音插件,将艺术家的声音转换成捕食者的声音。最后,巨龙被雪崩的石头淹没了。但是由于这个循环,他很快就像凤凰一样从灰烬中复活了。离开展览馆后,我沿着科尔纳大教堂散步,突然觉得上面的怪兽会从石凳上爬下来咬我一口。Paul_.gemann_video._whoa_hoo-ah_huh_2018_hd-._4-.-._930_min_loop4.jpg Slanted and Enchanted: Oriane Durand on the Year in Shamanism and Superstition - 倾斜和迷惑:奥利安·杜兰德在萨满教和迷信年度 Paul Spengemann,哇, Hoo-ah,哈!2018年,还是视频。礼貌:在这个充满魔幻和险恶的光谱中,Korakrit Arunanondchai的《在一个充满滑稽名字的人的房间里有历史》4是马赛J1美术馆的雕塑、声音和视频的沉浸式装置,它使海底生动,或者更确切地说,是“马赛的历史沉淀物”。引用展览文本,以及“它所包含的文明层”。几个蛤蜊和海洋碎片的雕塑分布在覆盖着焦油状土壤的地板上。他们似乎迷失在巨大的仓库里。有些堆的形状像海洋生物和人类的脸。好像大海已经退缩了,露出了里面的东西。人们遇到僵化的形式,也许是我们历史的遗留物,也许是木乃伊化后复活的生物。所看到的物体似乎处于瞬态状态。阿鲁纳农德海的临时性装置为我的许多场景打开了想象空间,从反乌托邦到最具变革性的场景。我想起了科姆·麦卡锡(Colm McCarthy)的电影《带所有礼物的女孩》(2016),特别是当一个女孩半人半僵尸时,她所能打开的所有可能性。最大的转变不一定由技术决定。web_raphaela-vogel.jpg Slanted and Enchanted: Oriane Durand on the Year in Shamanism and Superstition - 倾斜和迷惑:奥利安·杜兰德在萨满教和迷信年度 Raphaela Vogel/Paul Sochaki,2018,安装视图,Leopold-Hoesch-Museum,Düren。礼貌:艺术家和杜伦利奥波德-霍斯奇博物馆;照片:彼得·辛希拉格,离科隆不远,杜伦利奥波德-霍斯奇博物馆在秋天举办了保罗·索卡基和拉斐拉·沃格尔的双人展览。(自从我策划了拉斐拉·沃格尔2015年在邦纳·昆斯特弗莱恩举办的第一次个人展览以来,我就对拉斐拉·沃格尔的作品了如指掌。)这两个职位的对比为我创造了一种特殊的强度。保罗·索哈基的绘画常常带有清晰的政治信息,虽然它们柔和的色彩和线条因明亮而颤动。有时,所描绘的人物和物体感觉就像漂浮在画布上;而在另一些画布上,它们似乎被孤立、抛弃。拉斐拉·沃格尔的装置,与索哈基的精美画交替安装,有时具有纪念意义,有时没有,有时没有,有时没有投影,但它们总是一件事:大声。颜色(主要是深色和泥土),材料(动物皮或滴落的塑料),物体(水烟,墓碑,或动物头骨)-一切都指向萨满语词汇。就像一个巫师试图驱除痛苦和欲望,沃格尔潜入黑暗面,以便创造具有极富表现力的作品。两个独立的神话各自以自己的方式质疑权力关系:一方面,一幅表面上天真烂漫的绘画在温柔的面纱下沉重的主题,另一方面是一声狂野的尖叫,这是科技与古老动物主义力量对抗的结果。就像乌苏拉·勒圭恩(Ursula Le Guin)的《失灵》(Dis.ed,1974)中的阿纳里斯和乌拉斯行星的故事——它们的死亡标志着2018年的开始——这个展览让两个世界相撞。Korakrit-arunanondc.-of-.-in-a-.-.-people-of-funny-name-4-.-au-j1-marseille-01.jpg Slanted and Enchanted: Oriane Durand on the Year in Shamanism and Superstition - 倾斜和迷惑:奥利安·杜兰德在萨满教和迷信年度-Korakrit Arunanondc.,历史4,2018,安装视图,J1,马赛。礼貌:J1,马赛;照片:詹姆斯·拉法托。这一年对我来说结束了,在布鲁塞尔的达米恩&The Love Guru。这位德国艺术家的绘画达到了色彩和形式的极致密度:在Ohne Titel(2018)中金星诞生时的绿色比绿色更绿;在Der Hurrik.(2018)中粉色比粉色更多;在肖像Ohne Titel(2018)中眼睛比眼睛更多。这些绘画作品感觉它们在丰富的细节、化妆和夸张中爆炸了。就像一个神奇的大锅,充满了5000多年艺术史的酿造物,Marwitz试图在有限的二维表面容纳整个数据库。他的绘画作品在网上创造了一个寓言,它强迫我的目光进入不健康的肥厚状态,同时用令人不安的幽默催眠我。主图:Jannis Marwitzle,Untitled(细节),2018。礼貌:艺术家,达米恩&爱上师,布鲁塞尔和卢卡斯·赫希,杜塞尔多夫;照片:Alexey Shlyk Durand Ori.Durand Ori.Durand是法国馆长,作家,德国多特蒙德·昆斯特维林(Dortm.Kunstverein)的导演。《达米恩·爱上师》神话2018年回眸


FRIZE特稿
ARThing编译



Comments are closed.