美术馆 | 安利 · 萨拉参加红砖美术馆杜尚奖艺术家展“沿着本没有的路行进” - 玛丽安·古德曼画廊

沿着本没有的路行进

——14位杜尚奖艺术家展

展期：2019.04.27-06.26

主办方：红砖美术馆

策展人：

安娜贝尔 · 特内兹（Annabelle Ténèze）

助理策展人：

黛芬妮（Daphné Mallet）

参展艺术家：

雅图 · 巴拉达（Yto Barrada ，2016年提名）、尼尔 · 贝鲁法（Ne?l Beloufa ，2015年提名）、米歇尔 · 布拉吉（Michel Blazy ，2008年提名）、穆罕默德 · 布鲁伊萨（Mohamed Bourouissa ，2018年提名）、乌拉 · 冯 · 勃兰登堡（Ulla von Brandenburg ，2016年提名）、米尔恰 · 坎特尔（Mircea Cantor，2011年获奖者）、克莱芒 · 科吉托尔（Clément Cogitore ，2018年获奖者）、拉蒂法 · 艾霞克茜（Latifa Echakhch ，2013年获奖者）、乔安娜· 哈吉托马斯 & 哈利尔 · 乔雷吉（Joana Hadjithomas & Khalil Joreige 2017年获奖者）、卡米耶 · 昂罗（Camille Henrot ，2010年提名）、贝特朗 · 拉马什（Bertrand Lamarche ，2012年提名）、安利 · 萨拉（Anri Sala ，2012年提名）、丝娜 · 席迪拉（Zineb Sedira ，2015年提名）

红砖美术馆将于今日推出“沿着本没有的路行进——14位杜尚奖艺术家展”，力求以崭新方式呈现法国当代艺术及“马塞尔 · 杜尚奖（Prix Marcel-Duchamp）” 的多元面貌。这14位“杜尚奖”获奖与提名艺术家作品，也将在中法建交五十五周年之际，拉开第十四届“中法文化之春（Festival Croisements）”的序幕。

这是红砖美术馆继2017年“高压—杜尚奖·法国当代艺术现场”，第二次与法国国际艺术传播委员联合会（ADIAF）及法国驻华大使馆合作举办“杜尚奖”展览，展览得到北京法国文化中心（Institut fran?ais de Pékin）的支持，由法国图卢兹阿巴托尔博物馆（les Abattoirs, Musée - Frac Occitanie Toulouse）首席策展人及馆长安娜贝尔·特内兹（Annabelle Ténèze）担纲策划，黛芬妮（Daphné Mallet）协助呈现。

策展人安娜贝尔 · 特内兹从道路、位移、旅行、发现的概念出发挑选参展作品。展览以西班牙诗人安东尼奥·马查多（Antonio Machado， 1875-1939）的诗句“沿着本没有的路行进”作为出发点。在展出作品中，“行进”既是主题也是隐喻。因此，每件作品都成为一个向外的开口，一条发现之路。

相关阅读
【红砖 | 新展预告】沿着本没有的路行进

安利 · 萨拉 / 《Dammi i Colori》，2003 / 彩色有声数码影像，15分25秒

展览中的作品引发人文、诗意与政治的共鸣，虽囿于地域性的历史，却深植于人类的现实，藏匿于因旅途变故和文化交往而生发的恐惧与希望当中。在艺术家安利 · 萨拉的电影中，他通过城市漫步展示出一些经艺术改造、仿若历史想象的真实地点。探索之地、发现之地、邂逅之地。

安利 · 萨拉曾于2002年获得马塞尔 · 杜尚奖提名。这次他参展的两件作品分别为《Time after time》（2003）和《Dammi i Colori》（2003）。

《Damni i Colori》是安利萨拉著名的作品之一，在其中安利 · 萨拉拍摄了一位坚信艺术和色彩能够改变一座城市居住和生活方式的艺术家市长对他的出生地阿尔巴尼亚首都地拉那（Tirana）带来的变化。在2016年安利 · 萨拉与纽约新当代艺术博物馆（New Museum）的艺术总监马西米利亚诺 · 吉奥尼（Massimiliano Gioni）的对谈中，谈到了《Damni i Colori》的创作起因：

“……我听说埃迪 · 拉马(Edi Rama，阿尔巴尼亚现任总统及艺术家)当选市长后，地拉那发生了迅速的变化，而且他的新政中包括将城市一些主干道两旁的建筑刷上不同的颜色。拉马与我相识已久。一次归乡旅途中，我亲眼看到了这些色彩斑澜的房屋，便问他想法从何而来？大家的第一反应如何？他告诉我，反响十分大，支持和反对的声音都很激烈。起初很难判断是否该继续推进这个项目。为了确定下一步该如何走，他发起了一次小规模民意调查，问了两个问题：你喜欢这些变化吗？你希望这变化继续吗？对于第一个问题，大约有65%的人说喜欢，35%不喜欢；而对于第二个问题，询问他们是否希望继续改变，结果是，90%的人希望，10%的人反对。这个结果相当令人惊讶，因为这意味着，有25%的人，尽管他们不喜欢，仍希望继续改变。

安利 · 萨拉 / 《Dammi i Colori 》，2003 / 彩色有声数码影像，15分25秒

色彩对人的影响，超越了审美，触及更深之处。而这究竟是什么？这部电影试图揭示，这一不仅仅停留在城市墙面上的红黄蓝色的影响：它是政治意愿和愿景的具体表现，试图唤醒人们遗失已久的，对公共空间的渴望。这一渴望，在社会主义时期曾遭受粗暴对待，而在苏联解体后的过渡时期几乎消失殆尽。对于拉马而言，色彩不是为了粉饰城市，将其装扮一新；色彩如同移植的器官或组织，以拯救衰败的机体，助其重获新生……

拉马的色彩，试图统一并调和因个人建筑行为所产生的大量突兀建筑——其中大多为扩大生活空间的违法扩建。在阿尔巴尼亚社会主义制度解体后，人们不惜牺牲公共空间，以扩大私人空间，扭曲了建筑外观也破坏了城市面貌。而色彩能够让违规建筑变得模糊，为它们盖上一层面纱，掩盖它们对公共空间在审美上的糟糕影响。创建一座理想的城市，远非拉马的目的和主张。色彩是他的工具，帮助城市摆脱暗淡的灰色，唤醒人们对公共区域的渴望，他也借此发出强烈的变革信号。当然，也可以在一个更宏大的背景下来解读这一行动：所有有关先驱性及各式乌托邦的承诺和随之而来的失败。但事实是，色彩不应是一次乌托邦式的冒险，而是一个重新让人寄希于未来美好生活的政治工具。“

安利 · 萨拉 / 《Dammi i Colori》，2003 / 彩色有声数码影像，15分25秒

关于艺术家

安利 · 萨拉1974年生于阿尔巴尼亚提拉那市，现在柏林生活与创作。他近年的重要展览包括巴西圣保罗莫雷拉萨勒斯学院（Instituto Moreira Salles）的展览“现在时刻”（The Present Moment, 2017-2018），墨西哥城塔马约美术馆（Museo Tamayo）的个展（2017），澳大利亚悉尼的卡尔多公共艺术项目展“The Last Resort”（2017），纽约新当代艺术博物馆的个展“回答我”（Answer Me，2016），巴西里约热内卢莫雷拉萨勒斯学院（Instituto Moreira Salles）的展览“现在时刻”（2016），在日本直岛倍乐生艺术区（Benesse Art Site Naoshima）的丰岛海堤屋（Teshima Seawall House）的个展（2016），慕尼黑美术馆个展（Haus der Kunst，2014），第55届威尼斯双年展法国馆个展（2013），巴黎蓬皮杜艺术中心个展（2012），伦敦蛇形画廊个展（2011）。

安利 · 萨拉 / 摄影：Jutta Benzenberg

相关阅读
安利 · 萨拉，时间中的作曲者 - 玛丽安 · 古德曼纽约画廊新展

*部分文图来源：红砖美术馆官方网站，法国文化网

“Your footsteps are the road, for there is no road”

A tour amid the artists of the Marcel Duchamp Prize

27 April - 26 June 2019

Red Brick Art Museum

Curator:

Annabelle Ténèze

Assisted by

Daphné Mallet

Artists:

Yto Barrada, Ne?l Beloufa, Michel Blazy, Mohamed Bourouissa, Ulla von Brandenburg, Mircea Cantor, Clément Cogitore, Latifa Echakhch, Joana Hadjithomas & Khalil Joreige, Camille Henrot, Bertrand Lamarche, Anri Sala, Zineb Sedira

The Red Brick Art Museum is launching a new exhibition today entitled “Your footsteps are the road, for there is no road – An artistic road amid the Marcel Duchamp Prize artists”, aiming to present contemporary French art and a multi-faceted look at the Marcel Duchamp Prize in a new way. The works of the 14 winners and nominated artists of the Marcel Duchamp Prize will also kick off the “Croisements Festival” on the 55th anniversary of the establishment of diplomatic ties between China and France.

This is the second time that the Red Brick Art Museum has cooperated with the Association for the International Diffusion of French Art (ADIAF) and the French embassy in China to hold an exhibition for the Marcel Duchamp Prize, following the exhibition High Tension: 8 Winners of the Marcel Duchamp Prize. Supported by Institut Fran?ais de Pékin, the exhibition was curated by Annabelle Ténèze, the chief curator and director of les Abattoirs, Musée - Frac Occitanie Toulouse, with the assistance of Daphné Mallet.

Curator Annabelle Ténèze has selected works according to the concept of the road, displacement, travel and discovery. Taking as the starting point a verse by the Spanish poet Antonio Machado (1875-1939), “Your footsteps are the road, for there is no road”, this project brings together works in which displacement is as much a subject as it is a metaphor. Accordingly, each work becomes an outward opening and a road to discovery.

The works in the exhibition, whether they have humanist, poetic or political resonance, are fixed in the history of a place, but also in a human reality, in the fear and hope aroused by the changes met along the journey and in the meeting of other cultures. In Anri Sala’s films, city strolls reveal real places transformed by an art utopia that seems to have been dreamt by history. The road is also a place of exploration, of discovery of others and of encounter.

Nominated for the Marcel Duchamp Prize in 2002, Anri Sala will be presenting two works in the exhibition: Time after time (2003) and Dammi in Colori (2003).

In Dammi i Colori, one of his best-known video works, Anri Sala filmed the transformation of his native city, Tirana, the capital of Albania, at the instigation of Edi Rama, an artist and the mayor of the Tirana at the time who believed that art and color could change how to inhabit a city.

In 2016, in a conversation with curator and artistic director of the New Museum Massimiliano Gioni, Anri Sala explained how he started the project of Dammi i Colori:

"...I had heard of the rapid changes happening in Tirana, after Edi Rama’s election as mayor, and how he started applying colors to buildings’ fa?ades along some of the city’s main arteries. Rama and I had known each other for a long time, and after seeing the colors for myself during one of my trips back home, I asked him how it all had started and what the first reactions were. He told me that the response had been very strong, both for and against the colors, and initially it was very difficult to tell whether to proceed further or not. To find out, he eventually carried out a small poll, asking two questions: Do you like this? And, do you want this to continue? People’s answers to the first question revealed that roughly 65 percent liked it and 35 percent did not. The result as to whether they wanted it to continue showed that 90 percent did and only 10 percent did not, which was quite startling, as it meant that 25 percent of the people who did not like what they saw still wanted it to continue.

What was it about the colors’ impact on the people that transcended aesthetics to reach somewhere deeper? The film attempts to reveal this something that goes well beyond the reds, yellows, or blues on the walls of the city: it relays an embodiment of the political will and vision that seeks to reinvigorate the lost desire for common space, a desire that was ill-treated during the reign of the communist regime, before it became quasi-extinct in the transition years that followed its fall. Rama did not envisage the colors like makeup or garments, but like organs or tissues transplanted onto a failing body to bring it back to life.“

[...]

"Rama’s colors were meant to unify and bring together erratic volumes that had resulted from people’s individual architectural interventions – mostly illegal extensions to expand living spaces. After the fall of the communist regime, people were expanding their private space at the expense of the common, public space, disfiguring the surfaces of buildings, mutilating the city. The colors attempted to blur the volume of those irregular constructions, acting like a veil that concealed their awful aesthetic impact on the public space. It was neither Rama’s aim nor his claim to create an ideal city – far from that. Using color as a tool to pull the city out of this indistinct gray area and awaken the desire for public space, he sent a strong signal of change. Now, of course, there is a way to read this action in the larger context of the promises of the avant-garde or different utopias and their subsequent failures, but it’s a fact that the color were not meant as a utopian venture, but as a political tool that could reinitiate the hope that better days would come..."

About the artist

Anri Sala was born in 1974 in Tirana, Albania, and lives and works in Berlin. Recent solo shows include The Present Moment, Instituto Moreira Salles, Sao Paulo, Brazil (2017-2018); Museo Tamayo, Mexico City (2017); The Last Resort, Kaldor Public Art Projects, Sydney, Australia (2017); Answer Me, The New Museum (2016); The Present Moment, Instituto Moreira Salles, Rio de Janeiro (2016); Teshima Seawall House, Benesse Art Site Naoshima, Teshima Island, Japan (2016); Haus der Kunst, Munich (2014); the French Pavilion at the 55th Venice Biennale (2013); the Centre Georges Pompidou, Paris (2012); The Serpentine Gallery, London (2011).

正在展出 I CURRENT EXHIBITIONS

P A R I S

GIULIO PAOLINI

MARCH 15 – MAY 11, 2019

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PHOTOGRAPHY, A WONDERFULLY INADEQUATE MEDIUM

MARCH 14 – MAY 18, 2019

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