2017 Projects
2017年项目
 
Fridge Please… Display+Displacement=Displayement
 
Marc Oosting

 

What can be stored and displayed?

- A potential text based on the imagination of an artist’s possible works

 

Destroyed, forgotten, never completed, not written, thrown away, hidden, sketched but never continue, possible collaborations never coming to be realized, fragmental thoughts embedded in objects simply because of the inability of display and the capacity of displacement · Called ‘displayement’ by the artist · The myths of objects and personal life stitched together are stored in a couple of sealed ‘cases of ideology’, maybe the false/true account of the working of the world · Ideology serves society by shoring up its particular forms of social organization · How does one address these issues in everyday life, therefore revealing the public and economic in the personal · It seems reasonable to use forms that refer to mass-cultural forms in relation to consumerism, at least in the artist’s practice, without simply consuming or imitating them · Advertising, the handcrafted and the massively industrialized promise personal power and fulfillment through consumption · We are continuously involved in a kind of mediation, in the form of objects and commodities, between ourselves and the natural and social world · Our mode of economic production, in which people seem less important than the things they produce, shapes a consequential situation by giving the aura of life to things and removing it from people · We personify objects and objectify persons · This fetishism of commodities, as Marx pointed out, is not a universal mental habit · It has its origins in a productive system in which we are separated from our own productive capacities, our ability to make, which is transformed into a commodity itself · We experience this condition as alienation from ourselves as well as from others · So does the artist creating vacuum spaces distanced from the social and material context in which we are being · Looking at the alienated objects, in which their materiality seems to be dematerialized and digitized, produced by himself or others · Twenty one scrapped fridges scatter around · Some lay on the ground as showcases, some stand around for proper usage · Some work, some malfunction · Their original brand ads hint their ‘identities’ in such commodity ruins · No one would come to claim · The opening party alcohol is stored in a museum-like display system · No difference from the ones in the shops · Accompanied by a GIF titled In A Vacuum, showing Ace Ventura opening and closing a balcony door · Hinting at the visitors what to do and in potential creating social aura by interacting with the artwork · Apparently the artist is happy to hijack those displayed objects and commodities authorship · Such as Coca-Cola Can Stop Diarrhea · ICan · like a play on words, they indicate ‘can’ as a capacity of carrying economic ideologies as well as the ability of acting on our personal life and identity as consumers and next to the literal sense of the work · ‘Can’ being a ‘can’ · Bergen Zwisschen Kashgar Und Tashkurgan · is a group of sculpted clay miniature mountains resembling the letters H, E and double L · Potential in reading comes in play again as the display of the sculptures is letter group based and whether one decides to put the letters in an English reading or another Roman language · Hybrid existence with personal affect and touch · Also returning to a basic technique of sculpting ambiguous objects in a primitive way · … · More to explore of course · In dealing with questions around object and display and authorship in the exhibition ‘Fridge Please… Display + Displacement = Displayement’, in particular how objects can be related to people’s social positions, the artist uses a variety of different forms of objects, most of which are borrowed from common culture and ‘market’ · Written letters, scripts, graphic fonts, scrapped fridges, Coca-Cola cans, tourist photos and souvenirs, television program, clay and IKEA ceramic bowls etc. · Using these objects provides an element of familiarity and also signals his interest in real-world concerns, as well as giving him the chance to take on their cultural and social forms, to interrogate them, so to speak, about invoking the image of decoy, their meaning within society…

Hu Wei

2017. 12

 

什么可以被保存并展示?

- 基于对某艺术家可能作品的想象的潜在文本

 

损坏的,被遗忘的,从未完成的,未被书写的,被丢弃的,隐藏的,从未延续的草稿,从未实现的可能的合作,嵌在物品身上的碎片化想法,这些只是因为展示的无能和置换的可能 · 某艺术家称它为‘displayement’· 物品和个人生活的神密拼凑在一起,被保存在一些密封的“意识形态之柜”中,也许是世界运作(系统)的错误/如实的阐述 · 意识形态通过支撑社会系统的特定形式而作用于社会·如何在日常生活中处理这些问题从而能揭示出个人的公共性和经济价值 · 似乎使用涉及消费主义的大众文化形式的方式但不仅仅是消费或模仿它们是合理的,至少在这位艺术家的实践中 · 广告、手工制品和大规模工业化产品预示了通过消费所传达的个人能力和满足感 · 我们不断地通过物品和商品的形式(转换)介入到自己与自然和社会之间的调解中 · 我们正处在产品比生产者本身更重要的经济生产模式中,这是通过赋予物品生命的气质并将其从人的介入这一概念上移除而产生的结果 · 我们把物品人格化并且将人物化 · 如马克思指出的,这种商品拜物教不是普遍的心理习惯 · 它源于一个生产体系,在这个体系中我们自己的劳动和生产能力被分离,并被转化为商品本身 · 我们经历着从自己和他者中异化的过程· 此艺术家正是制造了与我们所处的物质和社会语境相隔离的真空空间· 观看那些由他本人或他人生产的看似被数字化的、去物质性的异化物品 · 二十一台报废的冰柜散落在展厅四周 · 一部分如同展柜一般平放在地,一部分挺立在周围被给予本来的用途 · 一些还可以运行 · 一些功能已丧失 · 冰柜上原有的广告贴时不时在这个商品废墟中暗示到访者其以前的‘身份’· 然而无人认领 · 开幕派对的酒精饮料被存放在类似于美术馆展示系统的玻璃柜中 · 与那些在商铺中的如出一辙 · 一个名为‘在真空中’的GIF动图展示了金凯瑞在电影《王牌威龙》中的一处情节 - 无休止地开关阳台上的玻璃门 · 提醒参观者这件作品的正确‘打开’方式以及与作品互动中可能的社交氛围 · 很明显艺术家对于把持展示物品和商品的作者身份乐此不疲 · 比如‘Coca-Cola Can Stop Diarrhea’· ‘ICan’· 如同一个文字游戏 · 它们指向了‘Can’可承载经济意识形态的能力,消费者的身份以及对作品的字面理解 · ‘金属罐是可以的/可以是金属罐’·‘Bergen Zwisschen Kashgar Und Tashkurgan’是一组类似于字母H、E、L、L的黏土山脉微缩雕塑模型 · 此处阅读的潜能发挥作用,因为雕塑的呈现是基于字母组成,并且同时取决于是否将这些字母置于英语或其他罗马语言系统中 · 个人情动和触觉混置 · 也将参观者带回到一种用原始方式塑造不明物的基本生产技能 · … · 为了在展览‘Fridge Please… Display + Displacement = Displayement’ 中讨论物品、展示和作者身份的问题,尤其是如何将物品与人的社会处境联系起来,此艺术家使用了各种不同形式的物品,其中大多数是从大众文化和商品市场中‘借用’的 · 书信、设计字体、报废冰箱、可口可乐罐、旅游照和纪念品、影视作品、黏土和宜家陶瓷碗,等等 ·  对这些物品的使用提供了一种熟悉的要素的同时也表明了该艺术家对现实世界关注的兴趣,并使他有机会承担它们的文化和社会表现形式,可以说是唤起引诱的意像,关乎它们的社会意义…

胡伟

2017. 12

 

 

Photos by Sun Shi

 
Common Places / 公共场所
Iris Lacoudre

Iris Lacoudre is working within tangible elements of architecture, questioning the ways we inhabit a certain place, rather than imposing a singular vision. From children playgrounds to Hutong yards, Iris widely inquires the domestic gestures enabling a sense of place, a territorial intimacy within common places.

 

For the last three months, Iris has been investigating the immediate context, looking for the commons within architecture, for undefined space, for non-monuments within the city of Beijing. Through the lens of Common places, the research unfolds different scales of inhabitation. The exhibition itself inhabits the space of IFP, as a disruptive gesture, as a silent form. It relates an ever-changing reality, being in constant movement and mutation. The material of paper is being played with, while the exhibition distorts, adapts, questions on different surfaces. It draws fragments, existing corners, imaginary spaces, accidents within a structure, lines to be continued. An open playground, where the limit between inside and outside is blurred.

 

The common place, yet existing, becomes a fragment of a larger environment, a piece of an imaginary project, to which paper is the very first matter. Paper, a publication relating this investigation, will be released during the opening.

 

The visitor is invited to inhabit the space in the way he/she relates to it, and eventually play chess game.

一直以来,Iris都在利用有形的建筑元素进行工作:她用多重视角去质疑我们身处确定空间的感受——从儿童嬉戏的场所到胡同大杂院,有哪些发生在自身生活空间里的行为是可以加强空间归属感的呢?

 

过去三个月里,Iris一直在感受本地语境——她在尚未被明确定义的空间里,比如暂未被视为北京历史性保护单位的建筑物区域里去寻找“公用场所”。通过镜头的拍摄,她的研究将胡同这片居住区的不同层次剥开。或许,展览本身就像栖息在激发研究所这个胡同院子里静静的、但又带有某种干扰性的行为——它和我们每天在变动着的日常生活相联系,自身也处在不断变化和新的混杂之中。Iris在展览中充分运用了纸这种材料,翻看着它里面每一页的不同内容,你可以把它卷起来,可以慢慢适应和它的相处,甚至也可以对里面的内容提出质疑。纸面内所描画的那些生活的碎片、犄角旮旯,又或是想象的空间、在空间结构里的突发事件……都将一一继续——一个开放之地,必然无分内外。

 

当前尚存的公用场所,实际已成为大环境里的碎片,这个由报纸呈现的带有想象意味的项目只是一个开头。《报纸》,这份与调研有关的出版物将会在展览开幕的时候亮相。

 

每个观众都可以以他们自己的方式停留于此,找到和它的关系,或者要不去后院下下棋也行。

 

 

Photos by Sun Shi

 
Often people ask how birds are affected by the air / 风起惹尘埃
 
Hanna Husberg

 

At the intersection of philosophy, politics, science and lived experience, ‘Often people ask how birds are affected by the air’ looks at how air, that is unruly when it comes to borders, functions in the human imagination. As it mutates and migrates, is the experience of air translateable, measurable?

 

Addressing the cultural and political aspects of urban air Husberg’s work builds upon her 3-month residency at IFP last autumn, during which her main practice was to talk and listen to locals, collecting their imaginaries of urban air. Narratives and imaginaries refer to the social domain of seeing, experiencing, thinking, fantasising, discussing and enacting aspect of the material world. Imaginaries are processes of negotiating claims to knowledge and truth. They are transformational, and enable new ways of knowing and acting in the world.

 

Because of its invisibility air is mostly mediated through scientific instruments and measurements, and through language. In China the introduction of the new concept of ‘wumai’, and the successive datafication of air, as air became “this number PM 2,5”, have produced a different augmented air, affecting ways in which air is experienced.

 

Drawing on her experience from Beijing, on the interviews and dialogues she had throughout this period, on existing aerial imaginaries and new technoscientific representations, Husberg has conceived an audiovisual installation that engages with the materiality of air. A soundscape that evokes the colours used to indicate the Air Quality Index, and the related presence of solid matter in the air, fills the space using the aerial media it explores. The visual elements of the installation draw forth the materiality of existing aerial imaginaries, but also function as light sources, and as token summoning the translations and variations taking place between spoken versus written language, and between cultures.

 

On October 29th at 17:00 a panel discussion with invited guests will be held at the IFP. It will address cultural and political aspects of urban air, with a focus on the perceptibility of air and its pollution, on agency and response-ability, and on environmental imaginaries. The panel includes Agata Marzecova, Lulu Li, Veronica Sun, Hanna Sahlberg and Guo Hao.

 

 

在哲学、政治、科学和生活经验的交叉点上,“风起惹尘埃?”这个说法提示出,自由流动的空气在人类想象中发挥的作用。随着它的变化与迁移,空气流动的过程是否可以被译解,或者被衡量?

 

Hanna对城市空气在文化和政治意义上的研究是从去年她在激发研究所三个月的驻地时开始的。其间,她与本地人进行了大量交谈,了解他们对城市空气的看法。她的叙事和想象,来源于人们从社会角度对物质世界的观察、体验、思考。想象是在知识和真相之间游走的一种可以转换的过程,同时也是可以认知世界,以及如何在其中自处的新方法。

 

由于空气的不可见性(主要是通过科学仪器测量,通过语言来描述),“雾霾”这个概念在中国的产生使得空气(质量)可以被精确地测量——空气“变成”了PM2.5数值。空气的概念有了新的解读和体验,也影响了人们对空气的看法。

 

Hanna从她在北京的采访和对话出发,根据那些对空气的想象和科学性的数据,创作出了一系列视觉、听觉装置,和空气本身的物质性相配合。空气质量指标的配色与空气可能的质感,两者联系在一起,还和声音装置相结合,成为了“空气中的装置”。而视觉元素则是强调了现有空气想象的物质感受,它们起到了光源的作用——让口头日常表达与书面正式表达,以及文化间的交流产生变化。

 

此外,10月29日(本周日)下午5点,将会在激发研究所办公室展开一场讨论会。艺术家同邀请嘉宾会从文化和政治的角度看待空气问题,强调对空气和污染的感知力,反应力以及环境想象力。该讨论除了Hanna,发言嘉宾还包括Agata Marzecova、Lulu Li、孙玙和郭颢。

 

 

 

Photos by Sun Shi

 
A Scene · Being / 场·动词
 
Fan Xi 范西

For this presentation at Black Sesame Space, Fan Xi attempts to blur the boundary between artworks and display space, casting aside the pressure of ‘sense of artwork’ and the sophistication of an exhibition experience. Instead, she is dedicated to capture the constantly changing and vanishing relationship between human, temporality, space, material, and image. A ‘scene’ here refers to both a site as well as a panorama, that is associated with a variety of dynamic relations.

 

In Fan Xi’s works, particularly the series of All Beings, the photoflash functions as an extended human organ that captures the time, and the object beyond the visible range of a naked eye. The scratch, fluidity, reflection, and solarization are a series of disturbing factors that tears apart the unknown that is hidden in darkness, seeking access to transcend the linear time and physical narrative, which would allow the viewer to access beneath the set up of an image. This is a kind of control between keenness and violence. In this exhibition, Fan Xi will continue her ‘manipulation’ of light by integrating it with the space. This methodology could be considered as an externalization of modern photography, in which light plays a crucial role of imaging and sets the conduct of the spatial experience. Therefore, it is not only the presentation of images but also a process of generating them, with the engagement of man and light. In this way, images are no longer understood as a medium for the reproduction of reality, but as a field of carrying changeabilities that requires the agency of light to liberate their vitality.

Dai Xiyun

2017.10

 

 

 

激发研究所将呈现范西个人项目《场 · 动词》。在这次芝麻空间的展览中,范⻄尝试模糊作品与展示空间的界限,抛开“作品感”的压力与既定的体验方式;试图捕捉人与时间,空间,材料以及图像之间不断变化、消失的关系。“场”在这里既是场域也是图像,关联着所有变化着的动态的关系。

在范西的作品尤其是《All Beings》中,闪光灯好比人身体延伸出的,在肉眼可见范围之外捕捉时间和物体的器官。它所制造的划痕、流动、反射、曝光过度, 像一系列不安因素撕裂隐藏在黑暗中的不明物,寻找一个跨越时间秩序与表象叙事的入口,进入表面以下的场域。这是一种介于敏锐和暴力之间的控制。在这一次的展览中,范西延续了对光的“操控”并将其运用在空间之中,这样的处理像是对现代照相技术的外化, 把光线作为成像的重要因素,引导着空间体验。因此,展览不仅仅是在呈现图像,也是一次图像生成的过程, 由人和光在空间中的介入而产生。图像不再被理解为一种复制现实的媒介,它们变成了承载变化的场域,需要通过光线的作⽤释放其生命力。

戴西云

2017.10

 

Photos by Sun Shi

 
Controlled Demolition / 定点爆破
 
Johan Kleinjan

 

Johan Kleinjan is a Rotterdam-based artist working with painting and illustration. In the past 4 months, he wandered through different hutongs and neighborhoods of the city, with a box of colored pencils and markers, and made sketches of people and buildings. Somehow many restaurants happened to be the perfect places for Johan to draw people without being noticed and made it possible to hide his painting tools between the food and beer. So around the time he needed to start planning this exhibition, he had made about 100 drawings. 

 

A hand-made burial suit is also presented in the exhibition space. After seeing a visitor with a Bao Bao Issey Miyake bag Johan noticed many people had these bags, and probably many had copied versions too. This gave him the idea of mixing the design of the bags with a jade burial suit he had seen in the National Museum. Moreover, something is going to happen out of the exhibition space. During the exhibition period, at some point, Johan will put on this suit, lead us to an unexpected place and implement his intervention as a consumeristic tourist.   

 

Besides spending most of his time making drawings, Johan also decided to make new architectural work during his stay in Beijing. He had noticed his original imagination of the gray hutongs was actually becoming a reality through the government´s relentless bricking up of all the windows and doors of the shops and restaurants that had been welcoming and open when he just arrived here. Seeing this development in combination with a tour of the old run down communist high-rise, led him to build a scaled down high-rise building in the Black Sesame Space and making it collapse during the opening. This performative gesture finally realizes his childhood dream of carrying out a controlled demolition as well as showing his view on the current situation in Beijing.

 

 

Johan Kleinjan是一位生活和工作在鹿特丹的艺术家,主要从事绘画和绘本创作。在过去的四个月中,他习惯性地带着一盒彩铅和马克笔穿梭在北京的各个胡同和社区,描绘建筑物以及形色各异的人。也许是种巧合,在这种经验下Johan偶然发现很多餐馆成了他的理想的“工作室”,因为在那里他可以将绘画工具自然地藏在食物和酒瓶后面,放松地,甚至是轻松地绘画而不被别人注意到。慢慢地,他发现当他开始构思此次展览时,他已经画了一百多张了。

展览中还呈现了艺术家手工制作的“手袋玉衣“。Johan在街上越来越多地发现很多人背着三宅一生的女包,而且很多可能是山寨货。这也使他蒙生了把此包的设计元素与之前在国家博物馆看到的金缕玉衣相结合。另外,这件作品也会在项目空间之外发生,在展览期间的某一时刻,Johan将会穿上这件衣服,将我们引向一个意料之外的地点——作为一个来到该地的游客,实施对消费化的现实的干预。

在北京期间除了花大量时间绘画外,Johan决定制作一件建筑装置作品。他意识到他最开始对灰色胡同的“旧有”想象,通过政府对那些在他刚到北京时还开门的商铺和饭馆的“拆店修墙”,而真的变成了现实。他把这种进展与前往北京老旧的“共产主义大楼”的经历相结合,打算在芝麻空间里建造一个等比例缩小的高楼,并且在开幕期间通过表演的方式使其崩塌。这个表演性的姿态最终实现了他童年希望实施的一场定点爆破的梦想,同时也展现了艺术家对当下北京的观察。

Photos by Sun Shi

 
Acquaintance with Instability Issues / 不稳定交叠
 
Kasper Hesselbjerg

Once during a conversation with Kasper, he considered what kind of political efficiency it is that we look for and believe in within art practice today. A couple of days later he quoted this line: "If art has effects on society, it is not because its experience would constitute something like a universal subjectivity but because the experiencing subject is potentially confronted with its own social and cultural assumptions", taken from Juliane Rebentisch’s writing. Instead of believing in an art that acts politically via its signification, he would rather regard art as the production of difference.

 

What is art’s claim to the production of difference? Art is considered to be different from perceptual/social norms, setting internal structures and producing its own norms. And yet, art also struggles in being different, it is simultaneously considered not to be different from the norm, insofar as it has to situate itself within empirical reality as a part of the social, in fulfilling its universality. It is because of art’s singularity that it struggles to be normalized. As a result of these contradictions art achieves a self-awareness through which we can endorse the presence of self-experience and cognition as the basis for our politics. The self-awareness is demonstrated by an understanding that the images art produces act as a correlate of the real that is supposedly free from the law of science and that embodies indeterminacy and contingency.

 

Kasper’s practice considers this phenomenon of indeterminacy; here aesthetic experience occurs when self-awareness is gathered from the form-content and cannot be directly integrated with hegemonic academic knowledge. He is dedicated to building a bridge between the construction of the subject and the creation of meaning and value. For Kasper, this “construction” can be seen as a practice of freedom. The implications for the operation of subjectivities and, in particular, the nature of aesthetic experience are addressed, and the distinction between the perception of visual forms and their cognitive interpretations are present throughout this exhibition. The works also invite the viewer to entertain objects attached to diverse cultural contexts, the ones that each of us comes from, the ones that we live in and the ones that we will encounter. To entertain objects that might be attached to a place or a kind of inertia and its daily experience, an experience that might not correspond to scientific or positivistic knowledge.  Also to deliberate objects that might manifest in a work of art, in which the form and content can appear in the realm of art, leading us towards an aesthetic experience.

Hu Wei

2017.6

 

 

 

在和Kasper的一次聊天中,他对艺术家在今天的艺术实践中寻找或相信怎样的政治有效性有所考虑。几天后他写邮件给我,其中摘录了Juliane Rebentisch的一段文字:“如果艺术对社会有所影响,这并不是因为它的经验构成了一种普遍的主体性而是每个经验主体潜在地面临着对它自己社会和文化的假设。”与其相信艺术在政治层面扮演某种重要意义,Kasper更愿意把艺术看做是种差异性生产。

 

而今天艺术又对差异的生产提出怎样的要求?艺术被认为不同于知觉的、社会的规范标准,它建立自身的内部结构并且创造其自己的规范标准。然而,它也在纠结这种“不同”,艺术同时也被认为不应该不同于规范标准,这样它必须要作为社会的一部分而把自己置于经验主义的现实当中,以践行它的普遍性。正是因为艺术具有这样的独特性,它才纠结于被规范化。而这些矛盾的结果是,艺术带有某种自我意识,而在这里面我们承认或已默认自我经验和认知的存在是我们政治性的基础。这种自我意识通过理解艺术所生产的作为“真实”的相关物的图像被证明,而“真实”概念大概可以被理解为是不受科学真理局限并与不确定性和偶然性共存的。

 

Kasper的艺术实践关注当从形式内容中获得的自我意识不能直接与主导的理论知识相结合时,美学经验产生的不确定性现象。他致力于在主体构建与意义以及价值创造之间建立起相关联系。对Kasper来说,这种“构建”正是一种对自主和自我管理的实践。本次展览相对开放地探讨了主体性的介入的结果,美学经验的本质意义在其中不断地被提及,对视觉形式的洞察力与认知能力的差异性也被呈现出来。同时,这些作品也邀请观者去思考各种文化语境下的物品,那些来自我们每个人的生活或那些我们有可能会遭遇的等等物品。使观众思考那些可能附着在某个地方或某种惯性上的物品及其日常经验,一种可能并不统一于科学的或实证主义知识的经验。也许它还邀请观者去思考这些物品是如何在艺术作品中证明其自身意义的,那些可以在艺术的讨论中出现并具有意义的形式和内容,它们也在不断刺激着我们对美学的体验。

 

胡伟

2017.6

Photos by Sun Shi

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2 Jiuxianqiao Rd (798 art zone),

Chaoyang District,

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CHINA

 

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