CCA

作为展览的“重蹈现实”，首次集中展示当代艺术收藏家王兵先生所关注的“后奥运时代”中国新一代影像艺术的重要收藏，并将之视为一个契机，在历史的断裂（节点）之处，尝试寻找一个新的叙事框架，既能以此说明中国在全球化时代所展现出矛盾性与复杂性，同时又能实现中国话语所强调的中国经验内部“连续性”之可能。而基于现代媒介技术的影像艺术，作为一种兼具“现代化”与“现代性”两种面向维度的技术制品，它在中国当代艺术系统内部的传播与演变，恰好映射出始于中国改革开放前后的现代化物质生产（器物层面）与文化信息生产、传播（精神层面）之间存在的辩证关系。所以，作为展览主题的“重蹈现实”，一方面旨在重申生活世界的意义，通过解析中国新一代影像艺术实践所累积的普遍化的媒介经验，从而在现实的实际经验中，阐释中国问题的话语情境与历史源头；另一方面，正值全球陷入混沌与冲突之际，“重蹈现实”的目的也旨在从未来的角度，提示在历史转折的关口我们所要面临的“重建工程”。

重蹈现实——来自王兵的影像收藏 | 群展

Tala Madani’s men seem to bring out the worst in each other. When they get together in her paintings and films, they reveal a juvenile sensibility of perversion, or hazing – shaming, alienating, or deceiving each other into entering or creating humiliating or destructive scenarios for themselves. Though generally nondescript, their varying stages of male pattern baldness, paunch, and the occasional moustache disclose their middle age, even in the expressive brushstrokes of her animations. They are feral hybrid creatures crawling and meowing in the alley in Cats and Cat Men (all works 2018); they form a menacing little mob in The Crowd – screened as part of the artist’s compilation ‘The Audience’ at Frieze Los Angeles. - 塔拉·马达尼手下的人似乎把彼此最坏的一面展现出来。当他们在她的绘画和电影中聚在一起时，他们会表现出一种幼稚的变态感，或是欺负-羞辱，疏远，或是欺骗对方进入或为自己创造羞辱或破坏性的场景。虽然一般说来难以形容，但他们不同阶段的男性模式秃顶，大腹便便，偶尔的胡须透露出他们的中年，甚至在她的动画中富有表现力的笔触。它们是一种野生的混合动物，在猫和猫人的小巷里爬行和喵喵叫（所有作品2018年出版）；它们在人群中形成了一个威胁性的小暴徒——作为艺术家在洛杉矶弗里泽的“观众”汇编的一部分进行了放映。

Artist Tala Madani Enters the Theatre of Our Minds – …

What do we gain from straining to decipher a language at the edge of our understanding? In struggling to find the right word to say? Continuous Wave (2019), Emily Mast’s project for the RU.in.ART lounge at Frieze Los Angeles — floats these questions like bubbles, offering brief moments of reflection and connection. - 在我们理解的边缘，通过努力去破译一种语言，我们能得到什么？在努力寻找合适的词语时？连续波（2019年），艾米丽·马斯特为洛杉矶中楣的Ru.in.Art酒廊设计的项目——像气泡一样漂浮着这些问题，提供短暂的思考和联系时刻。

Emily Mast’s Messages in a Bottle – 艾米莉·马斯特的信息装在瓶子里

Head straight to the New York City backlot to explore Frieze Projects - large-scale and immersive installations by international artists including Paul McCarthy's giant Ketchup bottle, Sarah Cain's painted transformation of a brownstone apartment, and Tino Sehgal's performance. - 直接前往纽约市的外景地，探索饰带项目——国际艺术家的大型和沉浸式装置，包括保罗·麦卡锡的巨型番茄酱瓶、莎拉·凯恩对布朗斯通公寓的绘画改造以及蒂诺·塞加尔的表演。

Frieze Week: Saturday – 中楣周：周六

The Crest Theatre first opened on Christmas Day, 1940, and though it has changed hands – and names – several times since then, the Art Deco façade sitting on Westwood Boulevard has always been a head-turner; located near the UCLA campus, the building had continued to catch Kristy Edmunds’s eye over the years. The Executive and Artistic Director for the Center for the Art of Performance (CAP) at UCLA had been able to gain access to the 500-seat space for the occasional performance (the venue was originally a theatre for live performance built for Frances Seymour Fonda before being converted to a newsreel cinema during WWII), but felt that its potential was still left untapped. - 克雷斯特剧院于1940年圣诞节首次开张，尽管从那时起它已经易手改名了好几次，但坐落在韦斯特伍德大道上的装饰艺术总让人头晕目眩；这座建筑位于加州大学洛杉矶分校附近，多年来一直吸引着克里斯蒂·埃德蒙兹的目光。加州大学洛杉矶分校（UCLA）表演艺术中心（CAP）的执行和艺术总监已经能够获得500个座位的临时演出空间（该场地原本是为弗朗西斯·西摩·方达建造的现场演出剧院，二战期间改为新闻片电影院），但他认为它的潜力仍然没有开发。