[ OCAT深圳馆｜新展预告 ] 同时代：苏格兰当代艺术展

“同时代：苏格兰当代艺术展”将于5月22日对公众开放。

“Current/同时代”是一项由英国邓迪大学邓肯乔丹斯通艺术设计学院的库柏美术馆发起，旨在推动中英文化交流的展览项目，迄今已在中国举办三期展览。

第四期展览“同时代：苏格兰当代艺术展”即将在OCAT深圳馆举办，展览由策展人郝亚冬(Sophia Yadong Hao)策划，邀请艺术家罗莎琳德·纳沙希比(Rosalind Nashashibi)/露西·斯凯(Lucy Skaer)(组合)和科林·斯沃恩(Corin Sworn)参展，通过影像装置展示艺术家在苏格兰的生活背景下对日常与虚构、身体与技术、过去与现在之间的关系的探索。

《熊》, 露西·斯凯(Lucy Skaer)/罗莎琳德·纳沙希比(Rosalind Nashashibi)，英国/中国2021，5分钟，彩色单频录像，原始格式：16mm胶片

艺术家书《折叠维苏威火山》中的诗文和图像都是专为本次展览所作，探索了内嵌于管理系统之中，却也时常逸出其外的评估模式。这本中英双语诗集(文字由陈东飚翻译)开辟了一个充斥隐喻和无限延展的知识系统的模糊领域，通过扭曲线性管理规则以减轻甚或解决困境，为读者提供了一种以感性体验“当代性”的方式。

（文：郝亚冬）

Photo by Emile Holba

罗萨琳德·纳沙希比和露西·斯凯皆为具有国际影响力的职业艺术家，她们同时以纳沙希比/斯凯的组合身份共同创作。纳沙希比/斯凯相识于格拉斯哥，自2005年起开始合作。她们的影片曾在第五届柏林双年展、泰特美术馆、大都会艺术博物馆、卡内基艺术博物馆和伦敦当代艺术中心（ICA）等国际大型场馆展出并广受赞誉。她们作品的收藏机构包括大都会艺术博物馆、蓬皮杜中心、马赛当代艺术基金会（FRAC）和英国艺术委员会等。纳沙希比/斯凯的近期作品以艺术史上既存的作品为灵感来源，例如作品《你为何生气？》借用了高更眼中的南太平洋景象，该作品在第十四届卡塞尔文献展中首映，并被纳入2018年泰特圣艾夫斯馆的回顾展。2019年，纳沙希比/斯凯在比利时根特当代艺术美术馆举办了大型展览“未来的太阳”。这是她们首次将个人作品和二人合作作品同时展示，对双方来说是一次富有成效的双向交流。由此诞生了她们首次与作曲家和音乐家合作的新作品《羔羊》。她们最新的影像作品、《羔羊》的续集《熊》，作为参展作品在OCAT深圳馆举办的“ 同时代：苏格兰当代艺术展”第四期中首映，该项目是邓迪大学库珀美术馆与中国专业的当代艺术机构间的重要国际合作项目。

科林·斯沃恩

Corin Sworn

 Courtesy of the artist

科林·斯沃恩的艺术创作通过讲故事、偶然的材料组合以及交互技术来探索物流学意义上的联系。斯沃恩对美术馆作为展示开放性技术的场域的同时、自身又作为交流工具的历史感兴趣。她近期的装置作品采用建筑增强、实况摄像和环绕声的技术手段创造临时空间，以期协同行动的发生。她先前的作品涉及：以化学反应创作色域绘画；相机作为一种技术手段、将认识与身体分离以满足工业物流分配的历史；以及借用任务列表和人造甜味剂来探索为流水线建立的评估技术如何通过自我管理和自我完善的概念进入主体之中。

斯沃恩最近的个展包括2019年爱丁堡艺术节；2016年波兰阿森纳美术馆; 2016年多伦多电影节；2015年意大利马拉莫蒂收藏；2015年伦敦白教堂美术馆；2015年德国朗根基金会；2014年悉尼双年展；2013年第55届威尼斯双年展；以及2011年泰特美术馆的 Art Now展。斯沃恩曾荣获2014年的Max Mara女性艺术奖和2016年的Leverhulme基金奖。斯沃恩目前担任英国诺森比亚大学的当代艺术教授。

郝亚冬

Sophia Yadong Hao

 Courtesy of the curator

郝亚冬现任英国邓迪大学邓肯乔丹斯通艺术学院库珀美术馆馆长，首席策展人。郝亚冬的策展理念推崇实验性，整合性及跨学科性，强调当代艺术和视觉文化中批评话语的构建。

近年主要策展项目包括：2009年的“干涉重复”从历史社会学语境中重新阐释了20世纪80年代的英国行为艺术并质疑了行为艺术可重复性及体制化后果；2011年的“切，刮, 割：滑稽歌剧三部曲”以英国观念行为艺术大师布鲁斯·麦克林(Bruce McLean)的为期一周的现场行为、雕塑、影像互动作品为切入点探询策展的多元化解读功能, 及其在知识构建、再生产和传播中的批判性功能；2014年的“工作室即兴事件：苏格兰当代艺术家组合回顾展”是英国近年以来首次对艺术家组合这一独特的草根创作形式的批判性梳理。2016至2017年策划推出了为期两期的大型展览及论坛项目“其他空间：何处姿态成为事件”，利用哲学家汉娜·阿伦特(Hannah Arendt)的“显现空间”理论对20位国际知名女艺术家艺术实践“再语境化”，探讨60年代以来女性主义中的合作和社会性精神对多元化社会和文化的贡献。该项目被国际女性艺术大师玛丽凯利(Mary Kelly)誉为自80年代以来最为重要的女性艺术展。从2012年起郝亚冬和艺术家埃德加·施密茨合作策划推出了国际巡回论坛“中枢与虚构”。

郝亚冬频繁在国际艺术期刊论集发表艺术批评文章，同时是独立艺术期刊《&label》的创刊人及主编。出版的论著包括 《干涉重复》（2010），《切，刮, 割》（2015）, 中枢与虚构：论当下艺术及进口的遥远》（与埃德加·施密茨合著，2016），以及《其他空间：何处姿态成为事件》（2019）由德国斯登伯格出版社出版。

郝亚冬现任英国艺术协会指导委员会成员（泰特美术馆和保罗·梅隆英国艺术中心），Art 360指导委员会成员，以及英国艺术委员会行为艺术评审指导委员会成员。在2020年郝亚冬担任了英国“Trinity Buoy Wharf绘画奖”评委，同年她也是爱丁堡当代艺术节“站台”项目评选人。郝亚冬在2014年获得亨利·莫尔研究院研究员荣誉称号，并在2012年至2018年期间担任苏格兰当代艺术协会理事会理事。

库柏美术馆

库柏美术馆是一个公共美术馆，隶属于英国最知名的艺术学院之一，始建于1892年的邓迪大学邓肯乔丹斯通艺术设计学院（Duncan of Jordanstone College of Art and Design）。

由于其在当代艺术与文化领域新锐的策展研究、国际取向与对批判话语的侧重，库柏美术馆被国际艺术界誉为苏格兰独特的实验性当代艺术平台。

库珀美术馆使用实验性和跨学科的方法进行策展，将展览作为知识交流和生产的协作过程。这一对话性工作的核心是在多重语境、实践和论述中的持续的批判性参与，从而导向平等、多元、包容这个必要的目的。库柏美术馆备受推崇的公共项目“12小时研讨会”充分体现了这一理念：12 Hour Jamming Symposium (2014), 12 Hour Action Group(2016)以及12 Hour Non-State Parade (2019).

库柏美术馆固有的跨学科特性及整合性策展理念将展览转化为富有创造力和批判性的研究模式，为艺术创作和公众参与提供支持。库柏美术馆的策展实践涵盖委托创作、展览、场外项目、公众参与性活动、艺术家/作家驻留计划与出版项目，其基于话语、实验和参与性策略的策展方法为知名及新兴艺术家实现富于冒险精神与雄心的项目提供了持续发展的环境。

库柏美术馆通过将展览扩展到公共话语领域，探索了当代艺术实践在创新、社会和教育领域发挥的广泛影响。

库珀美术馆是Plus Tate的成员。Plus Tate 是一个由泰特美术馆主持并推动的全英领先当代艺术机构的联合组织。

OCAT深圳馆

OCAT深圳馆是OCAT成立最早的机构，也是馆群中的总馆。其前身为OCT当代艺术中心，长期致力于国内和国际当代艺术和理论的实践和研究。从2005年开创至今，OCAT深圳馆一直围绕着艺术的创作和思考而展开其策展、研究和收藏工作。

OCAT深圳馆的项目既包括了对艺术家个体实践的考察、研究、出版和展览，也包括对于艺术课题的深入研究和综合展示。除了“OCAT展览”以外，OCAT深圳馆多样化的项目包括“OCAT工作室”“OCAT表演”和“OCAT放映”，分别呈现在不同学科和文化背景的艺术家之间的有意义的对话，艺术、舞蹈和戏剧领域中的表演实践和讨论，以及纪录片、影像和电影的放映和讨论。OCAT深圳馆的公共项目根据OCAT展览、表演和放映，以及来访学者的各种情境，以在OCAT深圳馆的图书馆、工作室及展览现场为地点，不定期地组织演讲、对话等思想生产的实践活动，并将其中的部分发言进行编辑和出版，为不到场的观众提供阅读的文本和研究者提供研究的素材。在OCAT深圳馆，围绕展览项目所进行的出版往往成为与展览既互相交织，又彼此独立和平行的一个平台。出版物的构思、编辑和设计也可能成为围绕着展览而展开的一项创作。年轻的实践者和具有前沿性的思考和工作在OCAT深圳馆一如既往地占据着重要的地位。“OCAT青年计划”就是为此而开设的，邀请活跃的艺术家、策展人和批评家来呈现他们最近的工作、思考和想象。

英国文化教育协会

英国文化教育协会通过艺术、文化、教育和英语语言在英国和其他国家人民间建立联系、理解和信任。我们帮助年轻人掌握技能，树立信心，建立联系，让他们发掘自身潜力、参与健全和包容性社会。我们助力年轻人学习英语，接受高质量教育，取得国际认可资质。我们推进艺术和文化工作，激发创意表达和交流，培育创新型企业。

CURRENT | Contemporary Art from Scotland 

Phase Four

There is no full stop to ‘the contemporary’.

With no conclusion, not even grammatical, ‘the contemporary’ refuses to stop. No pause for breath or rest in which to catch a glimpse, an illumination of what ‘now’ might be. Instead, revelling in an associative fugue, ‘the contemporary’ is inexhaustible and all encompassing.

Shuffling and swapping, substituting and mirroring, ‘the contemporary’ upsets and disrupts what is seen, known and imagined. In this discursive frenzy, metamorphosis and transformation operate as principle and technique, calculated then deployed to efficiently and so industriously extract and unsettle.

Querying and queering historical details, cultural capital and techniques of revolutionised management, Phase Four of CURRENT: Contemporary Art from Scotland captures a passing likeness of ‘the contemporary’ in all its immediate and impatient necessity.

Encompassing two exhibitions from Corin Sworn and Nashashibi/Skaer, Phase Four of CURRENT dissects the fictions, meanings and truths absorbed and transmitted by ‘the contemporary’. Juxtaposing chronologies and histories, the exhibitions critically interrupt the singular discursive economy of ‘the contemporary’ bringing tempestuous visions of ‘now’ into a meditative pose.

In this final fourth phase following previous iterations in Beijing, Shanghai and Wuhan, CURRENT arrives in a ‘city of the future’, Shenzhen. Resisting the appeal of that future, CURRENT focuses on the inherently discursive choreography of ‘the contemporary’, a concrete reality disciplined by the circumstances and radical insights that constitute this untimely moment.

Traversing mythology, nature, language and interpretation, Chimera, the exhibition by Nashashibi/Skaer — the joint practice of Rosalind Nashashibi and Lucy Skaer — brings a specific perspective to the visual fabric of ‘the contemporary’ through the lens of their artist’s films.

Chimera examines the act of looking and the transformative potential of film by reprising Paul Nash’s evocative painting Flight of the Magnolia in Our Magnolia, and blurring the distinctions between the wild and the farmed in Lamb and its sequel, the newly produced film Bear. Featuring a soundtrack developed in collaboration with Cantonese Opera artist Zhuo Peili, Bear elucidates the protean metamorphosis underpinning the real. Bear also provides the starting point for a new print work developed in collaboration with Shenzhen based artist Xu Zhiwei.

In Chimera Nashashibi/Skaer expose the slippages of context and meaning implicit in moments of transformation. Calling forth a mythic territory rife with contested cultural histories and unsettled archetypes, Chimera deploys the associative visual logic characteristic of our unstoppable contemporary, challenging us to visually speculate on the inherent uncertainty of the real.

Focused on significant but underrepresented historical narratives, Corin Sworn's solo exhibition Variations of Assembly captures cultural fragments to build scripts, performances and distributed narratives that bind both true and imagined stories into startling new meanings.

Featuring a new multi-media installation Habits of Assembly II and artist publication Folding Vesuvius, Sworn’s work encompasses architectural augmentation, sound, video and dance to explicate the undercurrents of monitoring, movement, sincerity and drive which score the motion of ‘the contemporary’. Indexed by early 20th Century time-motion-studies, Habits of Assembly II elaborates a critical history of ‘task performance’. Underscoring the false claims to virtuousness declared by efficiency, a driver of industrial discipline, Sworn reveals the tasked body to be a layered and complex organization akin to the factory, but also a symphonic alignment of biological noise.

Created and written specifically for this exhibition, the poems and images in the artist’s publication Folding Vesuvius explore the modes of assessment folded within and often away from managerial systems. Presented in both Chinese (translated by Chinese writer Chen Dongbiao) and English, the poems initiate an indistinct zone in which metaphors bend and knowledge systems become supple. Distorting linear navigation whilst facilitating and coping with difficulty, the poems and images in Folding Vesuvius offer a sensory reaching towards ‘the contemporary’.

Curated by Cooper Gallery, Duncan of Jordanstone College of Art and Design, University of Dundee in the UK in collaboration with leading art organisations in China and organised in partnership with the British Council, CURRENT: Contemporary Art from Scotland is a four-phase contemporary art exhibition programme, showcasing for the first time in China the distinctiveness of contemporary art made in Scotland, its grass-roots spirit and its keen debates with the social dimensions of art and culture.

Phase Four of CURRENT: Contemporary Art from Scotland is kindly supported by the British Council, China-UK Connections through Culture, and The National Lottery through Creative Scotland, Scottish Government. CURRENT is a direct result of the Research and Development Trip (January 2014) funded by Creative Scotland.

About the artists

Nashashibi /Skaer

Rosalind Nashashibi and Lucy Skaer are artists with international solo careers, but they also collaborate as Nashashibi/Skaer. Nashashibi/Skaer met in Glasgow and began working together in 2005. Their films have shown internationally to critical acclaim at venues such as the Berlin Biennial 5, Tate Britain, the Metropolitan Museum of Art, the Carnegie Museum of Art and the ICA London and they are represented in public collections including The Metropolitan Museum of Art, The Pompidou, FRAC Marseille, and Arts Council Collection, UK. Recent works have taken existing artworks as their starting point, such as Why Are You Angry? which utilises Gauguin’s vision of the south seas. This film, premiered at Documenta 14, and formed part of a retrospective exhibition for Tate St Ives, 2018. In 2019, Nashashibi/Skaer had a major show Future Sun at SMAK in Ghent. This brought together their solo practises and collaboration for the first time and was a site of fruitful cross pollination for both. A new film Lamb resulted – their first collaboration with composers and musicians. Their new film Bear, a sequel to Lamb, will be premiered as part of CURRENT: Contemporary Art from Scotland Phase Four at OCAT Shenzhen, a major international collaboration between Cooper Gallery, University of Dundee and leading contemporary art venues in China.

Corin Sworn

Corin Sworn is an artist whose work uses storytelling, material encounters and interactive technologies to explore logistics and connection. She is interested in the history of the gallery as a site for opening technologies while being a communicative apparatus itself. Recent installations have employed architectural augmentation, live feed cameras and surround sound to produce temporary spaces of encounter for collaborative acts. Previous work has depicted: chemical interactions as colour fields; histories of the camera as a means to disconnect knowledge from the body for distribution in industrial logistics; and employed to-do lists and artificial sweeteners to explore how assessment techniques built for the assembly line have moved into the subject through notions of self-management and self-improvement.

Recent solo exhibitions include Edinburgh Art Festival, 2019; Gallery Arsenal, Poland, 2016; Toronto Film Festival, 2016; Collezione Maramotti, Italy, 2015; Whitechapel Gallery, UK, 2015; Langen Foundation, Germany, 2015; Sydney Biennial, Australia, 2014. 55th Venice Biennale, 2013; and Tate’s Art Now, 2011. Sworn was awarded the Max Mara Art Prize for Women in 2014 and a Leverhulme Prize in 2016. She is Professor of Contemporary Art at Northumbria University.

About the curator

Sophia Yadong Hao 

Sophia Y. Hao is Director and Principal Curator of Cooper Gallery at Duncan of Jordanstone College of Art and Design, University of Dundee, where she leads an experimental and integrated curatorial programme with a focus on critical discourse in contemporary art and visual culture.

Appropriating a rhizomatic approach, Hao positions the role of the curatorial as a mode of critical inquiry that engages with culture and the political as an open question. Notable curatorial projects to date include NOTES on a return (2009); a re-contextualisation of Performance Art in 1980s Britain, A CUT A SCRATCH A SCORE: A Comic Opera in Three Parts (2011); a process-led project expanded around a week-long performance by esteemed British artist Bruce McLean, Studio Jamming: Artists' Collaborations in Scotland (2014); a discursive survey that interrogated the legitimization of the grassroots characteristic of artists' collaboration in Scotland, and Of Other Spaces:Where Does Gesture Become Event? (2016/2017) that evokes the political ethos of feminism to reveal the urgency of alternative politics in culture and society. Since 2012, Hao has co-curated the ongoing international touring forum Hubs and Fictions (with Edgar Schmitz).

Hao has published books, articles, catalogue essays, novels and poetry internationally. She is also the founder and editor of the contemporary art journal &labels. Her publications include Of Other Spaces: Where Does Gesture Become Event? (Sternberg Press, 2019), Hubs and Fictions: On Current Art and Imported Remoteness (co-edited with Edgar Schmitz, Sternberg Press, 2016), A CUT A SCRATCH A SCORE (2015) and NOTES on a return (2010). Hao is the founder and Editor of the art journal &labels.

Hao currently serves as a committee member of British Art Network Steering Committee (Tate Britain and Paul Mellon Centre), a member of Art 360 Advisory Group, and a member of Live Art Sector Review Steering Group (Arts Council England). Hao was a selector of the Trinity Buoy Wharf Drawing Prize 2020 and Edinburgh Art Festival’s Platform: 2020. She was also a Board Member of Scottish Contemporary Art Network between 2012 – 2018. Hao was awarded the Henry Moore Institute Research Fellowship 2014/15.

正在发生

OCAT深圳馆是OCAT成立最早的机构，也是馆群中的总馆。其前身为OCT当代艺术中心，长期致力于国内和国际当代艺术和理论的实践和研究。从2005年开创至今，OCAT深圳馆一直围绕着艺术的创作和思考而展开其策展、研究和收藏工作。