1
Content
Introductions
Austrian Artists Working in China
We are grateful to all artists for their cooperation and contribution of art work.
With generous support by
Lukas Birk & Karel Dudesek Hannah Breitfuß Eva Egermann David Eisl Katrin Hornek Leopold Kessler Albert Mayr Chiara Minchio Wolfgang Obermair Michael Poetschko Ben Pointeker Marlies Pöschl Andrea Salzmann Sira-Zoé Schmid Isa Schmidlehner Daniel Stempfer Johanna Tinzel Lisa Truttmann
4 9 10 16 20 26 30 34 40 44 46 50 54 58 62 64 66 70
Refuse the Shadows of the Past Exhibition Hong Kong, 2014
76
Umbrella Revolution, Hong Kong
90
TEOTA public intervention, Chongqing
92
Credits
112
All artist work descriptions have been provided by the artist. 2
3
我们所了解到的
WHAT WE LEARNED SINCE 2008 We, as curators, and the many artists living, working, interacting with, and venturing into China in the last ten years, have all witnessed immense changes in the mainland and its territories. In the pre-Olympic games period, the curiosity of local residents and those in the creative field towards foreigners was only matched by the low rental prices that allowed many outsiders to live in China in splendour. The sudden political changes that followed made the Olympic games not the usual world spectacle but a show of superiority and strength of the Chinese Government, performing for its citizens and the outside world. During this time, foreigners all of a sudden experienced great difficulty gaining access to China, even if they held tickets to the games. Then came the financial crash, which only made some Chinese smile, as they were mostly unaffected; property prices continued to rise and foreigners being paid in Yuan felt 20% richer. Beijing, where many of our activities were based, changed its landscape and structure. Just like in many other parts of the country, what little remained of “old China” was pushed out and replaced by the clean, practical, and highly efficient infrastructure. Many of the charming yet at times gritty Hutongs made way for an updated version of a cultural image; one mostly welcomed by the citizens, but not without any resistance. A revival of ancient culture appeared, promoting the old, diverse China, but excluding its historic, religious, and emotional context. A beautiful shell of factual measurements printed on shiny posters and chiselled in stone was presented as history. Culture, as we came to understand it, excluded our contemporary artistic production as that could not be easily categorized, and was unsellable and certainly unpredictable. The past decade also saw a transformation of the foreign art scene, especially in the major cultural centres of China. Until recently, it was very difficult for individuals or organisations to exhibit in China. Renting gallery and museum space required very large sums of money, while the work of foreign artists only had a small chance of being sold to local collectors. This all started to change when major galleries, such as Pace, introduced big Western art world names into the economy. The commodity value of Western artists has since caught on and investment into foreign art has exploded. Reports of shows by even moderately-known Western artists being sold out in China are frequently heard in the scene. The not-for-sale work outside of the art market is 4
still struggling, however, as the government support for contemporary cultural production has not seen major improvements. Without the support of foreign cultural institutes, embassies, and private art institutions funded by Europe and the Americas, the art scene in China would be largely devoid of foreign artistic influences and work that does not intend to find a buyer. But as always the case in China, there is change. The last 10 years have formed a different consciousness for emerging artists. We have started seeing art spaces and cultural initiatives outside of the art market slowly emerge. Young artists now being trained in China’s academies are aware that most likely they will not be selling their works for $10.000 right after graduation. These not so unusual stories from the late 1990s and early 2000s are over. The current changing environment is a very exciting landscape for foreigners – artists or not – to live, see, hear and be part of it is unparalleled. To experience living in China, even if only for a short time, is indispensable to personally understand the world. For this, we, as artists, are incredibly grateful to the Austrian Government for continuing its support and allowing artists to experience many countries and cultures trough its residency program. This is an enormous privilege that seems to be the norm in Austria but is administered in very few countries of the world that do not have the resources and the reach of large economies.
The Austro Sino Arts Program (ASAP) and its sister initiative, The Embassy of the Arts (TEotA) have organised exhibitions, film screenings, public installations, workshops, and publications since 2008. The initial idea formed by a group of artists has grown and transformed in its years of existence. Ground-breaking public interventions spanning from Beijing to Nanjing and large transformations of entire streets can now all be added to the highlights of this cultural undertaking. This 7th publication, titled, “The Gallop of the Courser” after Lisa Truttman’s video installation, continues our encyclopaedia of foreign arts activities in China with a focus on Austrian artists supported by the Arts and Culture division of the Federal Chancellery of Austria and the arts council of the county of Salzburg.
Lukas Birk, August 2016.
不管是对于到中国历险的艺术家，还是对于 我们作为策展人这十年来在中国及其所属领 土上工作、生活、组织、互动中所见证的， 都有了巨大的改变。 在前一届奥运会的期间，那些本地人以及创 意领域的人们所怀着对外国人的好奇心程 度，只和第一次为了让更多的外来人口入住 而定下的较低的租赁价格相匹配。面对政策 的突然整改，奥运会不再以“同一个世界”这 个壮观的口号自居，反而变成了一场政府将 它的市民推至与外部世界进行优势与力量对 比的浩荡表演。尽管持有奥运会比赛门票， 依然有外籍人士在关于获得进入中国的权限 上存在很多麻烦。在金融危机面前，一些中 国人依然面带微笑，因为他们多数人都没有 受到影响。房地产价格不断上涨，外国人在 使用人民币时会明显感受到自己额外多付了 20%的钱。在北京，以我们所发起的项目为 基础，改变了城市的景观以及结构。仅剩的 那一小部分“老中国”——就像在中国的很多其 它城市一样——都被拆除了，取而代之的是 配着实用的基础设施且干净的街道。胡同的 迷人同时又坚韧不拔的特性不得不给新的文 化意象让位。大多时候人们接受这一现象， 但依然存在未知阻力。一些古代文化的复兴 现象出现了，这种复兴文化向人们展现了古 老且多样化的中国，但并不存在任何实际的 历史性意义，纯粹只有宗教或者民族感情色 彩。在一个可观的现实驱壳上印上闪亮精美 的图画再将其镶嵌在石头里而被称为历史。 将我们的当代艺术活动囊括在其中来看我们 所理解的文化，它是宏大不可测的，它是不 可用来销售的，当然也是不可预知的。 国外艺术现场在其主要的活动城市里也在发 生改变。直到最近因为个人或组织无法承受 在场地租用上需要支付昂贵的费用，使得在 中国办展变得异常困难起来。国外的艺术家 能够把作品销售给当地收藏家的机会也是很 小的。直到像佩斯这样在西方艺术世界的经 济发展中名气非常大的画廊首先被引进来以 后，这种现象才有所改变。西方艺术的商 品化和投资化才得以被带动起来，甚至达 到爆炸程度。有关西方不温不和的艺术家的
作品在中国售罄的报道纯粹是谣言。“不应 用于销售的艺术”依然还在挣扎着，因为政 府对于艺术（不属于文化范畴）的资助并没 有大幅上涨。如果没有国外的一些文化协会 机构、大使馆，或者是有欧洲和美国艺术界 的私人艺术基金会的扶持，将在很大程度上 减少外国在艺术上影响，以及打消艺术工作 是以找卖家为目的观念。尽管在过去几年里 可以看见越来越多的艺术空间对外市场采取 主动措施。在中国艺术院校的年轻艺术家也 意识到毕业后自己的作品不可能卖得一千美 元这样高的价格，那些在上世纪九十年代和 本世纪初的艺术领域的童话梦早已不在了。 在过去十年里，社会对新兴艺术家形式逐渐 形成了不同的看法。这是在中国必然会发生 的改变。对于外国人来说，不论他是不是艺 术家，无论是成为中国的一份子，或者是生 活于此，抑或是听说来的，如此的环境变更 都是一个让人无比振奋的。就我个人对于这 个世界的理解，对于中国的静安，哪怕只是 短暂在此生活过，这种体验都是人生中必不 可少的。就这点而言，我们作为艺术家，诚 挚感谢奥地利政府持续给予艺术家资金的支 持，让艺术家通过驻留项目计划前往不同的 国家进行文化体验。如此巨大的特权在奥地 利似乎成为了一种常规，而世界上只有少数 几个国家——且他们都不是非常大的经济 体，会给予这样的支持。 从2008年起，奥中艺术项目 (ASAP)和它的姊 妹计划“艺术大使馆”(TEotA)组织了展览、电 影放映、公共项目、工作坊，并且发行了出 版物。最初的概念是由一群艺术家提出，在 往后发生了改变并逐渐成型。从北京到南京 的开创性社会介入项目，或者对整个街道的 大规模改变，都可以成为我们行动的亮点。 此次第七本刊物的名字《骏马飞驰》来源于 艺术家Lisa Truttman的影像装置作品，它延 续了外国艺术家特别是奥地利艺术家在中国 百科全书式的艺术活动，本项目由奥地利联 邦总理文化部和萨尔茨堡县的艺术委员会资 助。 2016年7月 Lukas Birk 5
Austrian Art Made in China 2012-2016
6
7
HANNAH BREITFUSS Ring
Ring sculpture in cooperation 与艺术家Josh Harks合作创作的环 with Josh Harks. Exhibition on view 形雕塑，展出于北京的草场地艺 at Harks Gallery, Caochangdi, 术区Harks画廊/北京201 Beijing 201
8
Hannah Breitfuß was born in 1987 in Bergheim, Salzburg. She lives and works in Vienna. She attended the Secondary School for Sculpture, Hallein and Academy of Fine Arts Vienna, for sculpture. She participated in the following group exhibitions, “Hotel Ananas,” Galerie 5020, Salzburg (2012); “Zeit Zeichen Zeugen“ Galerie 1Blick, Hallein (2013); “uomini illustri donne superbe“ Kulturforum Belgrad, Belgrade (2013); “Durch dick und dünn“ Rupertinum, Museum der Moderne, Salzburg (2014); “Namedrop” Harks Gallery, Caochangdi, Beijing (2015); “Hackers+Artists+LGBT“ Harks Gallery, Caochangdi, Beijing (2015).
9
EVA EGERMANN In the Fog of Chengdu
In foggy and misty weather, bodies cannot be seen in detail and understood completely. Values and pre-occupations cannot be applied when being opaque. The video essay describes opaque landscapes and fog as abstract space for social imagination. Accepting the Other’s opacity means that there is no single and simple truth. Describes the postcolonial writer Èdouard Glissant, “[w]e must fight against transparency everywhere….We demand for all the right to opacity, the right – not – to be understood.” The project follows a complex thinking about bodies with different appearances, abilities or belongings by way of abstraction and opacity, and reflects on perception, recognition, way-finding and difficulties of a “not understanding” on site. Excerpts from traveling diaries, theoretical texts, and images showing everyday situations in sports, health institutions, and transport; landscapes alternate with campus life.
10
在有雾和阴霾的天气里，事物无法被细节地感知和完整地理 解。当事物变得模糊不清的时候价值与偏见就无法被赋予。该 视频小品呈现了含糊不清的视野环境以及重重的迷雾来折射社 会想象的抽象空间。“Accepting the Other´s opacity”意味着独 立且简单的事实并不存在，后殖民作家Èdouard Glissant曾描绘 到：“我们必须反抗无处不在的透明性……我们有获得事物可见 性的权利，以及理解（不理解）的权利 该项目通过对拥有不同外表、能力或附属物的事物，以抽象、 可见的方式进行复杂的思考，同时对感知、识别、路径搜寻以 及“不懂”的困难进行在地的反思。通过摘引旅行日志理、理论文 章及图像，展现了运动、医疗机构和交通的日常状况……场景 与校园生活相转换。
Eva Egermann is an artist based in Vienna. She has worked in different media and with a variety of collectives, including those at Manoa Free University, the magazine Malmoe, and other collaborations. In addition to her artistic projects, Eva has produced publications such as, Regime, Wie Dominanz Organisiert und Ausdruck Formalisiert Wird, Class Works, and Crip Magazine. Eva also curates exhibitions and teaches at Art Academies in Vienna, Linz, Zurich, Lucerne, and Aarhus. She was involved in the research project “Model House— Mapping Transcultural Modernisms,” which was turned into a book entitled “Transcultural Modernisms,” published in 2013 by Sternberg Press. While a visiting researcher at U.C. Berkeley in 2015, she was awarded with the Theodor Körner Prize for Art & Science. Eva is currently a PhD candidate at the Academy of Fine Arts Vienna.
11
12
13
14
15
DAVID EISL Barber poles of Beijing
David Eisl was born in 1985. From 2005 to 2010 he studied at the Academy of Fine Arts Vienna in the masterclass of Prof. Gunter Damisch. He lives and works in Vienna (AT).
Even before my residency in Beijing I somehow felt attracted to barber’s poles – to the visual quality of their illusionary, strange, and sculptural presence in urban space. I was quite surprised to find this sign in front of every single barbershop in Beijing and to learn that there existed so many variations of this object and its pattern. For me this represented an interesting case of cultural globalization, and the process of form finding and variation. So I started to document the barber’s poles of Beijing. The selection the viewer sees here shows the range of variations that I found. In contrast to the barbershop poles in the West with the spirally-blue-white-red design, the predominant pattern in Beijing is one with black and white squares.
16
早在我参与北京的驻留项目前，我就被理发店的三色旋 转灯所吸引了，它们错觉般的视觉效果和怪异的程度， 以及在城市里如同雕塑般的存在形式都让我为之所动。 我对于在北京的几乎所有理发店门前都存在这种灯饰装 置感到很吃惊，然而更让我诧异的是，这些灯饰有着各 式各样的设计形式和图案款式。对于我来说，这是一个 很有趣的文化全球化以及形象变化及变异的过程。因此 我开始对北京的各种理发店旋转灯进行纪录。第一部分 作品展示了我所找到的变化的多样性。相比西方红白蓝 三色旋转的设计，在北京主流的发廊旋转筒则是黑白的 方块图案。
17
18
19
KATRIN HORNEK Climate letters, Venice Clouds & APEC Blue Hornek’s work is concerned with the contested territory of what we mean by “nature.” She takes this up through her work in installation, video, and photography. Approaching such questions as Geo-Engineering, climate change, and the industrial and digital revolutions, her work is informed by a post-conceptual aesthetic where cultural ideas are interrogated through materiality. Most of her works developed in Beijing depart from her interest in weather-making. The Beijing Weather Modification Office - most prominently enlisted by the Chinese government to ensure that the 2008 Summer Olympics were free of rain - is believed to be the largest in the world. In Climate letters, Hornek fly-posters a message to the climate which gets delivered through the water cycle: “Dear climate, listen carefully. We kidnapped the weather. If you want to redeem it, you better cooperate a little!” While raining, the posters blur into waterfalls and whitewash themselves.
APEC Blue, Video, 3 min, Beijing, 2015
20
Katrin Hornek is a visual artist based in Vienna (Austria). After completing an exchange program at the Royal Danish Academy in Copenhagen and CalArts in Los Angeles, she finished her studies at the Academy of Fine Arts in Vienna in 2008. Since 2014, she has been the Assistant Professor in the fine arts and media department, Landscape and Public Space, at the University for Applied Arts in Vienna. Hornek completed two self-directed residencies in Mongolia (2007/2009), and has attended several artist residency programs including RMIT, Melbourne (2011), Banff Centre (2012), MAK Schindler-Scholarship Program, L.A. (2013), and the Red Gate Gallery, Beijing (2015). She has recently exhibited at ON SPACE (Beijing), was part of the Dark Ecology Journey 2015, conceptualized and organized Mission W together with Eva Engelbert (KÖR), and screened her films at Blickle Kino (21er Haus).
For the video work APEC blue, colored smoke grenades are used to produce a blue sky. “APEC blue” was Beijing’s top environmental keyword for 2014. It refers to the blue sky which has been stage managed by the Chinese government during APEC China 2014 (Asia-Pacific Economic Cooperation). A permanent installation, Venice Clouds, is situated behind the artist village Feijiacun in Beijing. On a smoggy day in June 2015, while taking a walk in the wastelands behind the village, Hornek re-discovered Cai Zhisong’s Cloud series there. In 2011, his artificial clouds were exhibited at the 54th Venice Biennale in front of the Chinese Pavilion entrance, floating in a sea of white fog. By recontextualizing his dumped clouds as art in public space, forces around global (art) production, the visibility between front- and backstage, and the calculated use of ecological discourses are all brought into question.
《亚太峰会之蓝》，视频，3分钟，北京，2015年
上页和下页：《气候之信》，喷绘海报，尺寸可变，北京，2015年
Above and next pages: Climate letters, inkjet posters, size variable, Beijing, 2015
21
22
23
Venice Clouds, pedestal, clearing, waymark, map, Beijing, 2015
Hornek的作品的关注于 “自然”意义上所涉指的有争议的 领地。她将这个议题全面贯穿于她的作品，包括装置、 视频和摄影。在探讨诸如地质工程、气候变化以及工业 化和电子革命等问题上，她的作品的创作基点源于文化 创新受物质影响为中心的后观念美学。
在视频作品《亚太峰会之蓝》中，彩色烟雾弹被用于将 天空染成蓝色。APEC blue曾是2014年北京最火的环境 关键词之一。它指的是由中国政府在2014年亚太经合组 织（亚太经济合作）峰会期间所管理的舞台上的蓝天。
作为一个永久性装置，作品《Venice Clouds》坐落在 北京的画家村——费家村。在2015年六月的一个雾霾天 里，当艺术家走在费家村后的一片荒地里时，她发现了 蔡志松“云”系列作品。2011年蔡志松的人造云系列作品在 第五十四届威尼斯双年展上展出，它们就漂浮于中国馆 入口前一片白茫茫的烟海里。通过重新改造被他丢弃的 在名为《气候之信》中，Hornek通过可以被雨水冲洗的 云系列作品，它们又重新以艺术的形式出现在公共空间 海报向相气候传递了一条信息：“亲爱的气候，仔细听好 里，迫使全球化（艺术）的生产，前台与后台的可见性 了，我们绑架了天气。如果你想赎回它，你最好识相点 差距，以及对经济弊端有计划的使用成为思考的问题。 听我们指示！”当下雨的时候，招贴的海报就会被水冲 刷得模糊不清，像瀑布一样变成另外一个模样，消解自 身。 她在北京创作的大部分作品都源于她对“气候制造”的兴 趣。北京的天气办公室主要是中国政府为2008奥林匹克 夏季运动会期间保证不下雨而建立的目前世界上最大的 人工干预天气的机构。
24
25
LEOPOLD KESSLER Maotai & Yipintianxia
Leopold Kessler was born in 1976 in Munich, Germany. He lives and works in Vienna. Leopold studied sculpture in Munich from 1996 until 1998, and continued studying in Vienna from 1998 until 2004. His works often start in public space. His interventions, videos, and objects deal with social codes and human behavior. His works have been shown in numerous international solo exhibitions, including Malmo Konsthall, Bunkier Sztuki Cracow, and Secession, Vienna. Maotai, Guizhou, China 2013. Performance, Photos, HD Video 7:22 min. A man is climbing and drinking inside a monument, advertising famous state-owned Maotai liquor.
26
《茅台》，中国贵州，2013，行为表演/图像/高清 视频 7分22秒 一个男人在一个纪念碑里攀爬、饮酒，为著名的国 酒茅台酒打广告。
27
Yipintianxia, Chengdu, China 2013. Intervention, Photos (200×70 cm), HD Video 3:28 min. A dumpling-shaped object is placed between the chopsticks of a public sculpture in Chengdu. Eventually a traditional sword dance is performed in front. 28
《一品天下》，中国成都，2013年， 行为干涉/图像 （200×70 cm）/高清视频 3分28秒 在成都，一双筷子中间夹着饺子状物体的雕塑前，正在上 演一段传统的剑舞。
29
ALBERT MAYR Posters for Soundperformances
30
Albert Mayr was born in 1975 in Austria. He lives and works in Vienna. Albert studied at the Academy of Fine Arts, Vienna. His artistic approach can be described as expanded sculpture – an artist’s articulation in space, matter, and form. His artistic alter ego, jonnyhawaii, easily crosses the borderlines drawn between spatial installation and sound.
31
32
33
CHIARA MINCHIO Opium In Cents Aesthetics - My Private Shanzhai
“Cheap Cheap Cheap, aah... Chanel, Louis Vuitton, Gucci...good price, aah... come come take a looki…” Seduced by this mantra, people are drawn to buy status symbols on the streets of China. One can find practically anything there considered worth copying. During my stay in Beijing from December 2013 to February 2014, I began to work on the project, Opium In Cents Aesthetics - My Private Shanzhai. In Chinese culture, “Shanzhai is the neologism for fake and can be found in all areas of life. But Shanzhai products are much more than simply fakes. Technical and aesthetic modifications lend them their own identity. Shanzhai draws inspiration from situational potential, becoming a truly Chinese phenomenon. Successively products develop so far that they are different from the original, at which time they again become an original in their own right. A Dadaistic game with labels has developed, unleashing tremendous creative energy, this too has a parodic quality and a subversive effect on the standpoint of current market monopolies” (Shanzhai: Deconstruction in Chinese, by Byung-Chul Han). Inspired by Shanzhai, I developed the idea of creating a fabric that was a copy of a copy that itself was a copy. The choice of fabric as material was due to it being inherent to the painter’s material – the canvas. Among all of the possible fabrics I found the African wax-print to be optimal as it perfectly embodies the Shanzhai idea, as no other fabric does. 34
Chiara Minchio was born in 1972 in Treviso, Italy. She currently lives and works in Berlin. Chiara studied painting at the Accademia di belle Arti, Venice as well as at the Akademie der bildenden Künste, Vienna. Selected solo exhibitions include, “The Man Who Is Unhappy and Opium In Cents Aesthetic,” The Composing Rooms, Berlin (2015); “db Geld/Gelb bzw. Grün GGG Geh Geh Geh” (with Lisa Holzer), Dingum 6, Tiergarten Eins, Berlin (2012); “Swag surf, Juke, and Peanut Butter Jelly Time....,” Milwaukee Avenue, Chicago (2009); “Sha-a-a Red is the world’s best color, war is red, courage is red, yes sir, red, red like a sunset at Shonto,” Massimo Audiello, New York (2008).
The technique of Laran - the original Chinese wax-print - was invented 1000 years ago, industrialized by the Europeans in the great colonial time, appropriated by some African countries as a symbol of their identity, and finally brought back to China to be mass produced for the globalized world. One of the reasons why I became so attracted by the African wax-prints are the faults emerging through the industrial printing process, like the “cracks” and “bubbles.” During the development of my project I had the idea to use these flaws as a base for my own fabric. Then, on top of this, I applied icons from my body of work, such as Opium Tester -YSL perfume-, Opium Letters, and Cents and Noses. To create the perfect unperfected copy of the copy – my own Shanzhai – I had to travel to Guangzhou in order to purchase the fabrics. Most African wax-print fabrics to be found on the Global Market are produced in China. Although there are manufacturers all over the country, the fabrics can only be bought in the textiles trade capital, Guangzhou. In the city with thousands of sweatshops, I was also introduced to another aspect of the global business with African fabrics – an African community given the derogative nickname, “Chocolate City.” The next two pages show select images from the research, drawings, and the printed fabric test. 登峰小区，广州，2014年 Denfeng district, Guangzhou, 2014
35
Sketch for Opium In Cents Aesthetic, Fabric, 2014 《Opium In Cents Aesthetic Fabric》的草图，2014 年
36
37
《Opium In Cents Aesthetic》，绘画，2014
Opium In Cents Aesthetic, Drawing, 2014
年
“划算划算真划算，啊……香奈儿、路易威登、古 琦……价格合理，啊……走过路过不要错过啦……”在 中国的街头，受这个魔咒般的广告语引诱，人们抢着购 买那些能够抬高身份的品牌。你可以在那里找到任何你 觉得划算的复制品。 在驻留北京期间，从2013年12月到2014年2月，我开始 了名为《Opium In Cents Aesthetics——我私人的山寨 品》的项目。 在中国文化里，“山寨指的是在大街小巷都能找得到的 某些知名品牌的假冒伪劣品。然而山寨品远不是简单地 假货，技术的成熟以及对美的篡改赋予了山寨品新的身 份。山寨品的灵感来源于环境所激发的潜力，这正逐渐 变成中国的一大现象。山寨品的连续产品开发速度之 快甚至早已赶超原版产品，使得原本的模仿复制变成 了原创产品。带标签的达达派游戏得到了发展，并释放 出巨大的创造力，在山寨面前，商品是有诙谐质量的， 并且对目前的市场垄断局面产生了颠覆性的影响”（引 自Byung-Chul Han的《Shanzhai, Deconstruction in Chinese》） 受到山寨的启发，我开始实行这样的一个想法：创造一 种织物，它是一个复制品的仿制品，所以它本身也是复 制物。关于选择这个织物作为原材料是因为它是一种绘 画材料——帆布。 Opium In Cents Aesthetic, Fabric, 2014 《Opium In Cents Aesthetic Fabric》，2014年
38
Detail of Opium In Cents Aesthetic, Fabric, 2014
我所找到的织物材料当中，我发现一种非洲进口的蜡染 面料属于最佳，因为它拥有其他面料所不能完美体现的 山寨特质。 蜡染工艺技术——一种原始的中国蜡染技术——发明于 1000年以前，在殖民时期被欧洲人工业化，后来被非 洲国家挪用并将其视为属于非洲文化的象征，最后这种 技术传回中国，并成为繁杂的全球化大生产的一部分。 我之所以会对这种非洲蜡染面料如此着迷的其中一个原 因，是它在工业化的生产过程中会产生瑕疵，比如“裂 缝”和“泡泡”。 在项目进行的过程中，我想到了用这些瑕疵作为我织物 的底图，然后在上面添加上我作品中的一些符号如YSL 的鸦片香水、鸦片香水试用装字母、美分、鼻子。 为了能够在一个复制品上再去创造一个有缺陷的完美复 制品——属于我自己的山寨产品——我需要到广州采购 织物。大多数的非洲蜡染面料都可以在中国生产的全球 市场上找到。全国都有布料生产商，但是该织物只能在 广州的纺织品贸易投资城买得到。在这个有成千上万的 布料商店的城市里，我被别人推荐前往另外一个有非洲 蜡染面料的全球商业区——一个被人称为“巧克力城”的 非洲社区。 在以下两页中你会看到我在做调研期间的照片，以及一 些作品的草稿和印制织物时的样本。
《Opium In Cents Aesthetic Fabric》，2014年
39
WOLFGANG OBERMAIR Wolfgang Obermair is an Austro-German artist and curator in the fields of art and architecture, based in Vienna. He studied geography, painting, and media art in Dresden, Nuremberg, and Karlsruhe. His work has been shown in cities such as Moscow, Beijing, Porto, Zagreb, and Vienna. Since 2001, he has been curating exhibitions for the Nuremberg art association’s Kunstbunker – Forum für Zeitgenössische. Since 2012 he has been a member and coordinator of the Viennese non-profit art space, Schneiderei. Obermair is co-editor of Das Große Moskau, das es niemals gab (The Big Moscow that has never existed. 2008, Vienna: Schlebrügge), which examines the position of constructivist architecture in today’s Moscow.
The installation setting, made of a fragile tent-pole construction, forms the framework for two narratives that manifest an object and five cyanotypes. Both address the problem of the “locked room mystery.” The locked room is a literary topos based on the paradox of a closed system. In it, an action occurs in a way that appears to have been impossible, as it is reliant on an external impetus. The solution to the riddle is always an unusual one and usually exceeds the limits of customary logic. The Murders in the Rue Morgue (1841) by Edgar Allan Poe is one of the earliest examples of this theme. The horrific murders of two women could have only happened because an orangutan gained access to the room through a supposedly closed window. Imitating the action of his master, whom he had observed using his cut-throat razor, he cut the first woman’s head off and strangled the second with his hands, then violently shoving her up the chimney. One of the most famous illustrations of this story was by the British illustrator Aubrey Beardsley. In his 1894 drawing, not only is the closed nature of the room manifest, but also the shuddering of a whole society in the face of the removal of the boundary between human and animal under the influence of Darwin’s theories. At the end of the 19th century, the closed room and the fascination with the “bestial” stand for the dominating scientific tendencies of this age, Darwinism and positivism. The second narrative within the installation relates to a report of a contemporary experience of a German art-transport company who was recently jailed in a Chinese prison: “Each prisoner receives soap and a toothbrush, which has been shortened by half so that you cannot use it as a weapon.” Whatever the reason for this practice, which is also widespread in other prisons, the breaking of an object that stands like no other for one’s own care and intimacy leads to a change in the habitual perception of reality in a precarious and hermetic situation. In the whole installation all five fingers of a hand are integrated in terms of a “drame surréaliste” (G. Apollinaire). The segmented hand is not just a superordinate construction principle but also indicates a mysterious action. What remains is the opening of the lock. 40
这个装置结构由脆弱的帐篷杆组成，为一个物体和五 张蓝图照片建立起两条叙事框架。他们探讨了“密室之 谜”的问题。文学上“密室”的传统主题基于封闭系统的 悖论。在密室里所发生的事件表面上看起来与外部力 量没有关联，而最终的谜底却总是不同寻常且常常超 出观众的逻辑范围。埃德加·艾伦于1841年发表的《 莫格街谋杀案》是这类主题最早的例子。关于两个女 人被残忍地谋杀的原因是因一只猩猩通过一个本以为 是关闭的窗户进入到室内而得以发生的。它通过观察 模仿它的主人，先用一把割喉的剃刀把第一个女人的 头割下，再把第二个女人掐死，然后粗暴地将她推上 烟囱。关于这个故事有一张很著名的插图，是一个叫 Aubrey Beardsley的插画师所作。在他1894年的画作 里，不仅再现了房间的封闭性，还将达尔文理论影响 下人与动物之间的界限逐渐被抹除后的整个社会的不 安局面描绘得栩栩如生。在十九世纪末，密室和对残 忍的着迷应证了达尔文理论和实证主义作为那个时代 的主导性科学的趋势。第二条叙事线索涉及德国一家 艺术运输公司的员工在中国入狱的报道： “每个囚犯在 监狱里都会获得肥皂和牙刷，但是这些东西都被缩短 至原型的一半，这样你就不能把它们当成武器来用。” 这样的规定不管是出于什么样的原因——它也广泛存 在于其他监狱中，它通过在危险和与外界隔绝的状态 下破坏一件除了自己别人不会关心的隐私物件，改变 了人们惯性对这一物件的日常认知。在整个装置中，“ 一只手的五个手指”合成为一个“超现实主义戏剧”的概 念，分离的手指不仅是一个超级坐标或建构原则，还 暗示了神秘的行动，留存下的依然是那把被打开的 锁。
Opera buffa: do with less; so they’ll have enough, tent poles, silicone, Cyanotypes, 2015 《歌剧女歌唱家: 少做一些，对他们来说够了》，帐篷杆，硅，蓝图照片，2015年
41
Opening of the lock, Photography, 2015 Opera buffa: do with less; so they’ll have enough and Opening of the lock have been shown in the exhibition H-A-L-F-A-M-A-N at AOTU Studio, Beijing in February 2016. The exhibition is based on a productive dialogue between Austro-German artist, Wolfgang Obermair and the Indian artist, Jagrut Raval, who met through their stay at the Red Gate Residency program.
42
《Opening of the look》，摄影，2015年 《歌剧女歌唱家:
少做一些，对他们来说够了》以及《Opening
of
the
look》这两件作品于2016年二月在北京的AOTU工作室做过展出。该展览基 于德奥艺术家Wolfgang Obermair与印度艺术家Jagrut Raval之间的艺术交
《唾液》，准备行为表演中（与Jagrut Raval合作完成），2014年 Spit, Setup for a performance (in collaboration with Jagrut Raval), 2014. Pending, Line of moving stalls and Spit have been shown within a collaborative 2014年十二月，作品《待定, Line of moving stolls》与《Spit》展出于他在 exhibition project of the Red Gate Residency artists at Meridan 77, Beijing in De参与北京红门驻留项目时与Meridan 77的艺术家合作举办的展览上。该展 cember 2014, curated by Emma Karasz. 览的策展人是Emma Ka-rasz。
流对话。他们是在参与红门驻留项目期间认识的。
43
MICHAEL POETSCHKO Itineraries (Fragment I)
Michael Poetschko studied Fine Art, Film/Video, and Cultural Studies in Vienna, Salzburg, London, and Berlin. He is cofounder of the art and research platform d/v and was recently a studio fellow at the Whitney Museum of American Art ISP in New York City.
And here is a city within the city. And here are promises and frontiers, desires and diseases, daydreams and déjà-vus, passwords and refusals, undergrounds and murmurs of the future. Stories leak, places and temporalities interweave. A videoscript for a transnational experimental film project.
44
这是一个城中城。这里有承诺与边境，欲望与疾病， 白日梦与记忆幻觉，密码和拒绝，地下铁和属于未来 的杂音。故事泄露，地点与时间相交织。这是一个跨 国界实验电影项目的电影脚本。
45
BEN POINTEKER Impassenger
The video installation detaches sites and scenes from their surroundings so they no longer refer to a certain location but to the idea of an ambiguous space that is both a reality and a fantasy. Spaces are equal actors that face the figures and surround them, impassable. In the transient perception of a camera that captures like en passant, the figures appear increasingly consumed by the space. Narrative beginnings are discontinued and scenes seem trapped in an iterative structure. I create narrative clefts and distance between scenes and their associations, because I am interested in the space that opens up in between – in the form of an affective gap.
46
Ben Pointeker was born in Höfen am Lech (A), and studied visual arts at the University of Applied Arts in Vienna (19962001) and at the Piet Zwart Institute in Rotterdam (2003-2005). After working for many years in Rotterdam, Brussels, and Amsterdam, where he received the Prix de Rome Basisprijs, he is again based in Vienna. His work often sits between film and photography and is concerned with poetics, patterns of cinema, and the notion of time. 该视频装置将地点和场景从与它们周围所联系的事 物中分离开来，这样使得它们不再属于特定的位 置，从而变成了一个既是现实又是虚幻的暧昧空 间。空间成为平等的演员，面对人物并包围他们， 不可逾越。通过摄像机短暂而不经意的捕捉，人物 越发显得被空间所消耗。叙事断断续续地展开，而 场景似乎陷入一种互动的结构中。我在场景与对其 联想的空间关系中创造叙述的裂痕以及叙述的距 离，因为我对以情感鸿沟般的形式存在和两者之间 的关系很感兴趣。
47
48
49
MARLIES PÖSCHL Practice 1, 2, 3, Huangshan & Untitled (Lost Horizon)
Marlies Pöschl is an emerging Filmmaker and video artist, based in Vienna. She holds diplomas in Art and Communicative Practices (University of Applied Arts Vienna), Art and Digital Media (Academy of Fine Arts Vienna), and German Philology (Vienna University). Pöschl is a founding member of the platform, Golden Pixel Cooperative. Her work has been presented in exhibitions and film festivals in Austria and internationally, most recently: Donaufestival, Krems; MUSA, Vienna; Salzburger Kunstverein; Limited Access Festival, Tehran; and Edinburgh International Film Festival. She has won the Shorts On Screen competition (ORF), received a fellowship of the collection, Lenikus Vienna, the START scholarship, and several artist-in-residencies, including one at the Shanghai Theatre Academy in 2014.
Practice 1, 2, 3 “First, you have to stand straight, because they are very confident. So when you stand there, you have to raise your head and lift your chest, stand there as if you are smelling the flowers. And then, since people of this ethnic group are very confident and enthusiastic, you have to imagine you are dancing like Uyghur people. You have to express their enthusiasm.” The starting point of this video is a dance of the Uyghur minority, which is rehearsed by the students of the Shanghai Theatre Academy. This work focuses on the question of embodiment and memory. The projection is split into two parts, which are slightly out of sync. The effect is a dizzying déjà-vu-like feeling as in the dance – where the identities are shifting and overlapping. With reference to Victor Segalens book, Stèles, this video installation spins around the questions of translation and creation, copy and original, imitation and authenticity. Courtesy of the collection of MUSA (Museum auf Abruf) and the artist. 50
练习1, 2, 3 “首先，你必须站直，因为他们都很自信。所以当 你站在那里的时候，你得抬头挺胸，站得像似一朵 花在笑。然后，因为少数民族群体很热情自信，你 得想象自己得像维吾尔族人一样跳着舞。你必须表 现出对他们的热情。” 至于这段的跳维吾尔族舞蹈的影像的出发点是上海 戏剧学院学生的排演。这件作品聚焦于具象化和记 忆的问题。这段放映分为些许不同步的两部分－－ 似曾相识（ déjà-vu ）的令人混乱的效果－－喜欢 的感觉。正如这段舞一样：身份的转换和重叠。像 Victor Segalens的著作《Stèles》中提及的一样， 这件影像装置作品围绕着译本和创新，复制和原 创，仿制和权威展开讨论。 作品为“ MUSA – Museum auf Abruf”和艺术家共同 所有。
Huangshan Photographed at Huangshan (Yellow Mountain), an iconic motive of Chinese landscape painting, these two photographs depict handrails that can be found throughout the scenic area. Meticulously shaped out of concrete, metal, or stone, they imitate different textures and shapes of trees. Photographed against the backdrop of the fog that envelops the mountain, these handrails take on an allure of precious objects and refer to techniques of advertisement and studio photography.
黄山 此作品取景地是黄山－－中国山水画的主要题材， 这两张摄影呈现了在风景胜地可随处看到的栏杆扶 手。 Meticu-lously模仿树的不同质感和形状塑造 出了混凝土、金属或者是石头。摄影过程中蛙鸣笼 罩着整座山，这些扶手上通常有精美的雕塑物象衬 托，对于一些广告片拍摄以及学院派摄影来说非常 合适。 51
Untitled (Lost Horizon) Untitled (Lost Horizon) is an experimental documentary that juxtaposes different models of Utopia and intertwines contradictory narrations about the nation state. On the visual track, the film explores National Culture Village – a village outside of Shanghai, built to display the architecture, costumes, and customs of different Chinese ethnic minority groups. The images recorded in this deserted theme park are overlaid with a narration quoting Frank Capra’s film “Lost Horizon,” which is set in Shangri-La - a fictional village, in which neither war nor age exist. In her combination of these two narrations, Poeschl uncovers the fascination that lies at the heart of Utopia.
52
无题（遗失的地平线） 无题（遗失的地平线）是一个关于用不同叙述法把 不同乌托邦的模型放在一起的关于单一民族国家的 实验纪录片。通过视角跟踪，影片探索了“民族文 化村“－－建造目的是为了展示中国不同民族的建 筑、服装的一个上海城外的村子，通过引述Frank Capra的影片《遗失的地平线》－－放置在香格里 拉，一个梦幻的村庄，一个不存在战争不存在时代 的地方。记录了这个废弃的主题公园， 在结合两 种叙述手法，Poeschl揭示了乌托邦中心魅力。
53
ANDREA SALZMANN My long way to Madame Mao
My long way to Madame Mao is a performative video installation following the live journey of Jiang Qing, Mao’s fourth wife and, if you believe the official history writers, one of the most cruel women in history. She is often blamed for the Chinese Cultural Revolution in which an enormous number of people were killed by the red guards, publicly punished, or executed by the officials. In this period lasting for almost ten years, not only people who were accused of counter-revolutionary or antiproletarian activities were killed, but also the cultural heritage of China was destroyed. One of the stated goals of the Cultural Revolution was to bring an end to the Four Olds – old customs, old culture, old habits, and old ideas strongly connected with Confucianism. As a result of this strategy, students closed the universities and schools, and started to riot in the streets, accusing their teachers of a bourgeois lifestyle not following the communist rules, or punished former landowners, or their children. But it was also the time when an incredible number of young people took the chance and traveled throughout the country, following the route of the long march. The youth were fighting for their right to speak, ignoring any border of respect for the older generations. They wanted their own revolution and not only to be part of the story of the heroes of the long march. In Europe, the propaganda that came along with the Cultural Revolution like the little red book, the portrait of Mao, resulted in several Maoist groups following the ideology of the Cultural Revolution. The emancipatory character of getting rid of the Four Olds found a strong echo in the 1968 movement. In my performative installation, My long way to Madame Mao, the viewer can see the results of a year of research on the biography of Jiang Qing, especially focusing on the time of the Cultural Revolution. You can see drawings, which I made in the taxi driving to the spots in Beijing including the 54
paid bills, maps of Beijing and Shanghai marked with the spots where I did my performances, and you can have a look at the research material I collected over the last few years. The video itself became a performative biopic starting with the youth of Jiang Qing: born as an illegitimate child she got rid of her bounded feet and became an actress in Shanghai in the 1930s. But unlike her career, her private life was not as successful, so she left Shanghai to join the revolutionary communist army. At that time they had their headquarters in Yan’an. She arrived as a young beautiful actress and soon became Mao Zedong’s mistress, finally marrying him in the 1940s. During the 1950s, she suffered from cancer and mental illness, but in the 1960s she got back on the stage – as one of the leaders of the Cultural Revolution. As a former actress she also invented the model theatre/opera pieces, which just had a revival in China, but of course without any mention that Qing Jing was involved in the original productions. After Mao’s death she was imprisoned, finally killing herself in 1991, while under house arrest. In my video I travel to the specific spots in the life of Madame Mao. First, I go to Shanghai and then to Yan’an in the province Shaanxi, to the caves where she met Mao Zedong. The next chapter deals with spots where the Cultural Revolution took place in Beijing. Here I also change the perspective and tell the story of the first victim killed by the Red Guards. At none of these spots you will find any commemoration of the victims – it seems as if the killing and public punishing as well as the destruction of cultural heritage never happened. The next part deals with the trial against Jiang Qing. It was broadcast all over China and was one of the first big media events – everybody watched it. In the final part you see a quote from a newspaper in 1991 announcing that Jiang Qing has died by hanging herself. The news made it to the west almost a month later. The officials in Beijing tried to keep it secret as long as they could.
Andrea Salzmann was born in Bregenz, Austria. She lives and works in Vienna. She studied photography and audiovisual media as well as Theater, Film, and Media science in Vienna and Antwerp. Since 2003, she has worked individually and in collectives on performance projects and currently holds a teaching assistantship at the Akademie der bildenen Künste, Vienna.
“My long way to Madame Mao”是一个基于毛泽东 夫人江青的表演性视频装置。江青，毛泽东的第四 任妻子，如果你相信那些官方作家的描写，你会知 道她是历史上最残忍的女人之一。文化大革命中只 要关于赤卫队屠杀百姓、行政官员公众处罚或者行 刑百姓的问题，矛头都会指向江青。在近乎十年的 文化大革命中，不仅是人民因被控诉反革命或反无 产阶级而被杀，同时中国上上下下的文化传承也在 此遭到破坏。文革中既定的目标之一是破四旧－－ 旧思想、旧文化、旧风俗、旧习惯，而“四旧思想” 和儒家思想有着紧密的联系。 在此战略的引导下，学生放弃学校的学习，上街发 动暴乱，指控老师资产阶级的生活方式，不再遵从 共产主义者规章，或者是惩罚地主和他们的孩子。 同时，在这个时期，惊人数量的年轻人通过加入长 征获得走遍中国大江南北的机会。年轻人为了不再 遵从尊长制度而战，他们要的不仅仅是长征中的英 雄故事，他们要的是他们自己的革命。 在欧洲，伴随文化大革命而来的是像红宝书、毛泽 东的头像这样的代表毛泽东主义的几个群体的象征 物。在摆脱了“四人帮”的残害后，解放派在1968年 那场运动中找到了强烈的共鸣。 在表演性装置 《My long way to Madame Mao》 中，你可以看到我在一年中研究江青传记的结 果——尤其聚焦于文化大革命时期。你可以看到我 在去北京各个地点时在出租车上所画的画，包括账 单、标记有我做行为表演的地方的北京和上海地 图，你也会看到去年我做调研时所收集的材料。视 频本身变成了一个具有表演性的自传式摄影，从青
年时期的江青开始：原本是私生女的她在二十世纪 三十年代挣脱了家庭的束缚，前往上海并成为一名 演员。然而也正因为身世不光彩，她并没有在上海 有出头的机会，从而离开上海加入了共产主义革命 军。当时共产主义革命军的总部在延安，她以一个 文艺兵的身份到达延安，因为年轻貌美而被毛泽东 相中，由此成为了他的情妇，并在二十世纪四十年 代他们结为夫妻。在二十世纪五十年代她经受了癌 症与精神疾病的折磨，然而在六十年代她又重回了 政治的舞台——作为文化大革命的领导人之一。由 于以前当过演员，热衷戏剧的她发明了一种样板戏 的戏剧模式——毫无疑问，在样板戏开始流行之 初，江青是参与了样板戏的生产。在毛泽东死后， 江青锒铛入狱，最终在1991年依然被囚禁于自家中 的她选择了自杀。 在我的影像中，我游历了那些对于江青一生来说较 为特殊的地方。我首先去了上海，然后在转至山西 延安，去看她与毛泽东相遇时所在的窑洞。下一个 章节是造访了北京在文革期间那些发生“革命”的据 点。在这里我改变了原来的观点，我讲述了第一个 被红卫兵杀害的受害者的故事。在这些据点里，没 有一个地方纪录了文革时期受害者的任何痕迹—— 仿佛杀戮和公开批斗以及对文化遗产的严重破坏从 来没有发生过一样。往下的一部分是研究针对江青 的审判。这段审判曾在中国全国范围内放映，一度 是最轰动全国的媒体事件之一——所有人都在关 注。在最后一部分里，你可以看到引述自一份报纸 的报道，该报道陈述了1991年江青自缢的事实。这 个消息几乎是在一个月后才传至西方，因为北京的 官方想尽可能地向世界隐瞒这个秘密。
55
56
57
SIRA-ZOÉ SCHMID Shoe & The yellow show
Sira-Zoé Schmid lives and works in Vienna and Salzburg. She studied art and cultural studies as well as photography at the Akademie der bildenden Künste, Vienna, and Theater, Film, and Media science at the University of Vienna. Selected exhibitions include, “MARKERS,“ Jan Arnold Gallery, MQ - Electric Avenue, Vienna (2016); “Open Studios 2015 – Milchhof,“ Berlin (2015); “Narrative Lines,“ Festung Salzburg (2015); “100,” Galerie im Traklhaus, Salzburg (2015); “Identity Politics #3,” Vasa Project - Journal on Images and Culture, VJIC Ausgabe #8 (2015).
Shoes. Photograph of 6 pair of shoes of 3 women and 3 men.
58
59
The yellow shoe. 2 part video work.
60
61
ISA SCHMIDLEHNER Isa Schmidlehner was born in 1971 in Vienna. She lives and works in Berlin. Isa studied at the Academy of Fine Arts Vienna. Selected solo exhibitions include, “take good care with Kei Takemura,” Galerie Patrick Ebensperger, Berlin, DE (2014); Gironcoli Museum, St. Johann bei Herberstein, AT (2013); “I see You see” (with Esther Stocker), curated by Goschka Gawlik, Zbiornik Kultury, Krakow, PL (2011); “Dienstag abend,” one night exhibition, organized by Ezara und Rainer Spangl, Vesch-Raum für aktuelle Kunst, Vienna, AT (2011); Galerie Patrick Ebensperger, Berlin, DE (2010); Boltenstern. Raum, Galerie Meyer Kainer, Vienna, AT (2010).
62
63
DANIEL STEMPFER Daniel Stempfer is an Austrian artist living and working in Frankfurt am Main and Berlin. His work was shown recently at Kunstverein Wiesbaden, Museum of Modern Art Frankfurt; Gallery Soy Capitàn, Berlin; Swimming Pool Projects, Sofia; and basis Frankfurt, Frankfurt, among other places. His sculptures and installations often deal with temporary phenomena, the traces they leave, and the various – sometimes mutually contradictory – narratives those traces support in retrospect. He is also the co-curator of the exhibition space, Jenifer Nails.
64
65
JOHANNA TINZL Off the 5th Ring & It’s the blue gold, darling!
Off the 5th Ring Staged reading, Beijing (CHN), 2015 HD-Video, 41 min 30 sec The script for the staged reading is based on interviews with different Chinese people in Beijing. In order to ensure their anonymity, the script has been performed by foreigners in public space in Feijiacun, Beijing. Excerpts: F: Every day is full of risks and uncertainty. Yes, really. I come to the BBQ and I go out meet friends. It could be safe, it could be really risky. Nobody knows. Just like last year: I went to an art event related to Hong Kong and I was put in jail. In Beijing. 30 days in jail. In the detention house. Last year. In October. You know. Hong Kong. Occupy central. We were in Bejing to support Hong Kong. 16 artists were put in jail. I was one of them. I only went to an art event. Of course it was related to Hong Kong. So what? Everybody paid attention to Hong Kong. Right? The whole world is watching Hong Kong. But I feel fine now. C: It is cultural. Like Confucianism. For example: If there is a question A, B, C. If you don’t know the answer it’s just B. I don’t really know about politics. I don’t really care about it. But I agree that most Chinese people just follow what other people do. A lot of people will do that. Also people of my age and I am 22. They are used to following instead of making their own choices. E: In Chinese society people will agree with what everyone else is saying. Not everyone will have their own opinion. It’s a collectivist society. It’s about: We work together and we have an opinion together. We don’t believe in the individual. H: In my private space I like to speak freely. But in the public I self censor. F: I have to.(...) 66
《五环之外》 舞台朗诵，北京（中国），2015年，高清视频，4 分30秒
Johanna Tinzl was born in Innsbruck, Austria, and lives and works in Vienna. She studied Transmedia Art at the University of Applied Arts Vienna, and Sculpture at the University Mozarteum Salzburg. Tinzl has participated in numerous exhibitions and projects in China, Belgium, Turkey, Hungary, Bosnia- Herzegovina, Italy, Germany, Spain, Denmark, and Austria. Her work develops and is based on a conceptual approach analyzing relationships between social and political structures, specifically focusing on practices of power in everyday life. Her ideas develop from site-specific research, which she later integrates into performative or installation formats. Her work includes a wide range of media, such as video, sound, object, and text.
舞台朗诵的剧本是基于一份对在北京不同的中国人 进行采访的报告。为了确保受访者的匿名性，该剧 本由外国人参与演出，地点是北京费家村的一个公 共场地。 摘录： F：如今的每一天都充满了冒险与不确定性。是 的，我说的是真的。我去吃烧烤的地方见朋友，我 有可能是安全的，也有可能这是很冒险的行为。世 事难料。就像去年吧：我参与了一个与香港有关的 艺术节事，我就被关进了监狱，就在北京，在拘留 所过了30天的牢狱日子。去年十月，你知道的，香 港的占中事件。我就在北京支持香港，16位艺术 家被关了起来。我就是其中一个。我仅仅是因为参 加这次的艺术活动。我知道这是和香港占中事件有 关啊，又怎样嘛？所有人都把注意力放在了香港事 件上，对吧？整个世界都在关注！不过我现在没事 了。 C：这就是文化，像儒学一样。举个例子：如果有 一个问题它有ABC三个选项，如果你真不知道答案 那就选B，我真的搞不懂政治，我也不在乎。不过 我同意大多数中国人总是看别人怎么做他们就怎么 做。很多人会这么做。还有的是想我22岁相仿年纪 人，他们习惯了随波逐流而不是自己做选择。 E：在中国这个社会中，人们会顺从大众认可的 话，并不是所有人都会有自己的观点或见解。这是 一个集体主义社会，也就是说：我们一起工作生活 我们就会有相同的观点或见解，我们不吃个人主义 这一套。 H：在属于我的个人空间里我喜欢言论自由，不过 在公众面前我会自我审查。 F：我必须这样做。 （……） 67
It’s the blue gold, darling! Sculptural intervention, Chao Bai River, Beijing, 2015 For the Chao Bai River Project in Beijing I developed three self-luminous sculptures made out of used drinking water bottles: the N-Tower was built out of Pure Life bottles (Nestlé Waters), the C-Tower by Ice Dew bottles (Coca Cola Company), and the D-Tower by Evian bottles (Groupe Danone). The towers became a skyline en miniature beside the river. The right to water is a recognized human right. But in fact major corporations buy up springs of water on a large scale and treat water as another commodity of the food industry. As a result of this, the bottled water market is booming worldwide. With It’s the blue gold, darling! I want to open a dialogue set upon resources, privatization, and civil society near the Chai Bai River in Beijing. The Chai Bai River Project was curated and organized by ON SPACE Beijing (Wu Shengzhi, Liang Hao, Li Tianqi, Zhang Yongji, Jiang Tong).Thanks for the support to Hu Xinru and Mr. Zhang. 68
干预性雕塑，北京潮白河，2015年 对于这次的北京的潮白河项目，我创作了三个自发 光的雕塑，这三个雕塑是由用过的水瓶做成：N塔 由纯生活用水水瓶（雀巢饮用水）建成；C塔用冰 露瓶（可口可乐公司）建成；D塔由依云瓶（达能 集团）建成。这些塔变成了河岸上的一个缩影。 拥有水的权利是一种公认的人权。然而事实上，一 些大型的公司大量购买水并把水当做是食品工业商 品来处理水。也正由于这一结果，使得瓶装水市场 在世界范围内蓬勃发展。我想通过《It’s the blue gold, darling!》去发起一场对话，一场建立在资 源、私有化以及在北京潮白河附近的公民社会基础 上的对话。 潮白河项目由北京的ON空间组织（Wu Shengzhi, Liang Hao, Li Tianqi, Zhang Yongji, Jiang Tong） 。谢谢张先生和Hu Xinru的支持。 69
LISA TRUTTMANN Characters, Filming Rooftops While Thinking About Anything But Them & The Gallop of the Courser
Lisa Truttmann is a media artist based in Vienna and Los Angeles.
Characters Video installation, work-in-progress Hu Zhan Zhu writes ancient Chinese poems with water on the floor in Fuxing Park, Shanghai. After a few minutes the characters dry out and disappear. Everyday she comes here and practices her handwriting with her friends and colleagues. Together they have lively and detailed discussions about the strokes and shapes – amongst each other and with the many spectators. Hu Zhan Zhu is the only woman within the turmoil of men, but due to her high writing art she is respected and highly admired. For two months I visit her a few times every week in order to learn from her, and at the same time capture these ephemeral moments.
70
Characters 《字》 音频装置，完成中 Hu Zhan Zhu在上海复兴公园用水写中国的古诗。 几分钟后这些字干了并消失。她每天都和她的朋友 和同事到复兴公园这练字。在旁人的关注下，他 们每天都充满活力地、详尽地讨论这些字的笔画和 形态。Hu Zhan Zhu是这群混乱的男人中唯一的女 性，但是由于她精湛的艺术书写，她备受尊敬和高 度喜爱。为了向她学习，我两个月来每周都拜访她 几次，同时捕获这些短逝的瞬间。 71
The Gallop of the Courser Video and sound installation, work-in-progress
Filming Rooftops While Thinking About Anything But Them Single channel video, work-in-progress The title of the piece describes its content literally: the camera meanders from rooftop to rooftop, architecture dissolves into forms and structures. Animated and assembled to a single shot, the path leads us through the sky, while the voice-over describes in fragments– a text collage of notes, observations, experiences and research during my residency in Shanghai – what happens on the ground.
72
《拍摄屋顶的时候除了它们以外一切事物尽在思考中》 单屏影像，完成中 这件作品的名字差不多解释了它的内容：当旁白以碎片 的方式叙述时－－笔记、观察力、经验和我在上海驻留 期间的调研的文本拼贴－－发生在地面上的一切：照相 机在屋顶间穿梭，建筑溶解成形式和结构。这条路径领 导我们穿过天空，使单一的拍摄变得鲜活、聚集。
We see white stone structures and hear the sound of horses at full gallop, snickering from afar. The sound volume increases rapidly and sets the large group of lithic sculptures in motion. Heavy traffic noises eventually mix with the animalistic sounds and just when they are about to take over the soundscape entirely, images and sounds introduce the actual location: Shanghai, at the intersection of Yan’an Elevated Road and Inner Ring Elevated Road, two major, multi-leveled, urban freeways.
《骏马疾驰》 音像装置，完成中 我们看到白色的石头结构，听到马儿疾驰的声音，远处 传来窃笑声。音量迅速地增大使这一大群石质雕塑处于 兴奋状态。繁忙交通的噪音终于和兽性的声音混合，当 混合的声音正要全部占据整个声域，图像和声音引出了 真实的地理位置：上海，两条主要的、多层次的、城市 化的高速公路——延安路高架桥和内环路的交叉路口。
73
74
75
5 YEARS AUSTRIAN ART MADE IN CHINA Exhibition at the University Museum Hong Kong 3.7.-3.9.2014
76
77
78
79
Roswitha Weingrill, Looking for someone
80
81
82
83
Heimo Lattner, The last picture (aterthought)
84
85
86
87
88
89
EMBASSY OF THE ARTS PUBLIC INSTALLATION Anton Petz at the Umbrella Revolution in Hong Kong
An Embassy of the Arts installation with works by Anton Petz at an early day of the Umbrella Revolution in Hong Kong. The Umbrella Revolution 雨傘革命, was a series of sit-in street protests that occurred in Hong Kong from 26 September to 15 December 2014. The protests began after the Standing Committee of the National People’s Congress came to a decision regarding proposed reforms to the Hong Kong electoral system. The decision was widely seen to be highly restrictive, and tantamount to the Chinese Communist Party’s pre-screening of the candidates for the Hong Kong Chief Executive election in 2017 before the candidates are presented to the Hong Kong electorate (wiki).
90
91
EMBASSY OF THE ARTS PUBLIC INTERVENTION When art invites itself into the public space
The walls started with our outdoor intervention in Chongqing in 2013. Initially we uninvitedly used wall that was partly spray painted with graffiti on a main street and painted all other walls white. We then exhibited work of Min Jisok and Ulrike Johanson in connection to our exhibition at the Organ Haus. We conducted a workshop on public art with students from the Art University in Chongqing and we utilised these walls as the display of the ideas the students formed. In the last 4 years, the walls have been constantly overpainted and became a graffiti venue with an ever changing surface.
92
作品《墙》开始于2013年在重庆 实施的户外介入项 目。一开始我 们在一段没有被利用起来的墙体上 展 示了艺术家Min Jisok和Ulrike Johanson的作品, 并在之后的几个 月和重庆的学生们举办了关于公共 艺术的工作坊。在过去的4年里,墙 创造出它自身 的活力,同时成为了 一条表面不断改变的街头艺术 长 廊。
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
Published by Mazine.ws Publishing, Vienna 2016 Copyright Š Mazine.ws and all respected artists All rights reserved. Without limiting the rights under copyright reserved above, no part of the publication may be reproduced, stored in or introduced into a retrieval system, or by any means (electronics, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book. These regulations do not apply for educational purposes world wide. ASAP online at www.austrosinoartsprogram.org Sehr schÜn Design, Vorarlberg, Austria. I S B N: 978-3-9502829-9-3 Cover image: Lisa Truttmann Editorial & Layout by Lukas Birk & Karel Dudesek. Translation by Chen Yizhong Text polishing by Alina Girshovich. Chongqing photographs and support by Takeo Ni.
We would like to thank Gudrun Schreiber, Olga Okunev. Contact Austria: Kunsthaus Alxingergasse Alxingergasse 26 A-1100 Vienna Karel Dudesek +43(0) 699 12277677 Lukas Birk +43 (0)681 81748956
Friends of the house
112