MGG现场｜“觉醒”：塔瓦雷斯 · 斯特拉坎对历史叙事的反转
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塔瓦雷斯 · 斯特拉坎 / 个展“觉醒”现场，玛丽安 · 古德曼纽约画廊，2022
请点击“阅读原文”预约看展。请按照您的预约时间准时到达画廊前台登记。登记后客人将根据小时标记的指示乘电梯前往4楼。请勿迟到。观看展览的时间约为40分钟。严禁拍照和使用手机。在展厅内必须佩戴口罩。入场需提供疫苗接种证明。玛丽安 · 古德曼画廊很高兴举办塔瓦雷斯 · 斯特拉坎（Tavares Strachan）在纽约空间的首个重要展览“觉醒”（The Awakening）。展览将持续至6月11日。“觉醒”是艺术家今年的展览三部曲的第一部分。接下来，在今秋10月，第二部分“绝对黑暗”（In Total Darkness）和第三部分“光天化日”（In Broad Daylight）将分别在玛丽安 · 古德曼巴黎画廊和巴黎贝浩登画廊展出。
塔瓦雷斯 · 斯特拉坎 / 《忠诚》，2022 / 双联画：油画颜料，珐琅，颜料，丙烯树脂，垫板 / 每幅：106.7 x 213.4 cm，整体：213.4 x 213.4 cm塔瓦雷斯 · 斯特拉坎 / 《坐在门边的鬼魂》，2022 / 双联画：油画颜料，珐琅，颜料，丙烯树脂，天然纤维，Songye面具（刚果） / 每幅：76.2 x 152.4 cm，整体：152.4 x 152.4 cm“觉醒”的创作出发点是牙买加先驱活动家马库斯 · 加维（Marcus Garvey，1887-1940）的生活与工作。作为一位富有魅力的领袖人物，加维成立了由黑人拥有的黑星航运公司（The Black Star Line，1919-1922)，该公司通过将移民送回非洲及为非洲侨民社群间运输货物，旨在联合并连接世界各地的非洲后裔。而戏剧作品《黑星号》（The Black Star Line，是关于英国豪华轮船“白星号”（The White Star Line））的创作也得到了加维1914年创立的世界黑人促进协会 (Universal Negro Improvement Association) 的支持，并体现了UNIA所呼吁的黑人自决与自治的信条。
塔瓦雷斯 · 斯特拉坎 / 《征服的狮子》，2022 / 双联画：油画颜料，珐琅，颜料，丙烯树脂，垫板 / 每幅：76.2 x 152.4 cm，整体：152.4 x 152.4 cm
塔瓦雷斯 · 斯特拉坎 / 《芭芭拉 · 乔丹》，2021 / 双联画：油画颜料，珐琅，颜料，丙烯树脂 / 每幅：76.2 x 152.4 cm，整体：152.4 x 152.4 cm
近一个世纪后的今天，在对历史的深远影响之外，加维对斯特拉坎个人也具有重要意义。这位生于巴哈马的艺术家致力于纠正历史偏见，通过挖掘历史档案，将镜头调转方向，使得跨大西洋两岸的故事发生反转。斯特拉坎的艺术实践运用混音式美学，受到了从爵士乐、雷鬼音乐、嘻哈音乐到体育和文化、科学和宇宙空间的广泛影响，并从体现人类野心的成就及记录历史的档案中采样进行重组，由此创作出的作品以跳跃性的方式涵盖了多样主题并且反驳了既定叙事。
塔瓦雷斯 · 斯特拉坎 / 《关于隐形的百科全书（橡木#8）》，2018 / 皮革，金箔，档案纸，橡木，毛毡，丙烯树脂 / 书：39.1 x 34 x 12.7 cm，带底座：139.7 x 91.4 x 52.4 cm
塔瓦雷斯 · 斯特拉坎 / 《关于隐形的百科全书（橡木#8）》，2018 / 皮革，金箔，档案纸，橡木，毛毡，丙烯树脂 / 书：39.1 x 34 x 12.7 cm，带底座：139.7 x 91.4 x 52.4 cm
为回顾加维的精神遗产，斯特拉坎以2022年的新作品《赛普蒂米乌斯 · 塞维鲁》（Septimius Severus) 开启展览。这件装置作品的标题来自古罗马帝国皇帝赛普蒂米乌斯 · 塞维鲁（公元145-211年，他是仅有的几个生于非洲大陆的古罗马皇帝之一），并延续了艺术家正在进行的《关于隐形的百科全书》系列。这件作品营造了一种全方位的场域特定环境，引领观看者探索展览所设定的关于黎明的隐喻。观众在画廊的南北展厅之间将分别体验黑暗和光明。在这种沉浸式的体验中，人们会感觉身处一致而封闭的空间。通过展览，斯特拉坎创造了超越知识结构的平行世界和张力点。这些关联性的框架所产生的对比，是对权威式语言的回应，揭示了当语境发生转换时意义会如何变化。关于艺术家
塔瓦雷斯 · 斯特拉坎1979年出生于巴哈马首都拿骚，目前在纽约和拿骚生活和创作。他2003年获得罗德岛设计学院玻璃艺术学士学位，2006年获得耶鲁大学雕塑艺术硕士学位。斯特拉坎已举办多场个展，其中包括：“总是，有时，从不”，西雅图弗赖伊艺术博物馆（2018）；“你属于这里”，新奥尔良Prospect 3三年展（2014）；“无法估量的白日梦”，里昂双年展（2013）；“极地日食”，第55届威尼斯双年展，巴哈马国家馆（2013）；“看见/未看见”，未向公众披露的展览地点，纽约（2011）；“正统的宽容：再也不归家也许不是一个坏主意”， 麻省理工学院List视觉艺术中心（2010）；“你可以随心所欲（正统的宽容计划）”，宾夕法尼亚大学当代艺术学院（2009）等。他曾为纽约布鲁克林的巴克莱中心（2021）和巴尔的摩艺术博物馆（2018）创作场域特定装置。斯特拉坎曾获得多个奖项，其中包括盖蒂研究所（Getty Research Institute）驻留艺术家（2019-2020），边界艺术奖（Frontier Art Prize，2018），艾伦生物科学研究所（Allen Institute）首届驻留艺术家（2018），洛杉矶郡立艺术博物馆艺术+科技实验室艺术家奖金（2014），蒂芙尼基金会奖金（Tiffany Foundation Grant 2008），重要艺术驻留奖金（Grand Arts Residency Fellowship，2007）以及耶鲁大学爱丽丝 · B · 肯保尔奖金（Alice B. Kimball Fellowship，2006）等。
Marian Goodman Gallery New YorkThe Awakening
6 May - 11 June 2022
Please use the link at bottom left to book an appointment and arrive promptly at your appointment time for check in at our lobby. Once checked in, guests will be directed to take the elevators to the 4th floor just after the hour mark. No late arrivals will be permitted. The viewing time to see the exhibition will be approximately 40 minutes. Photography and use of mobile phones is strictly prohibited. Face masks must be worn. Proof of vaccination required for entry.Marian Goodman Gallery is pleased to present The Awakening, Tavares Strachan’s first major exhibition in the New York space, through Saturday, 11 June 2022. The Awakening marks part one of a trilogy of exhibitions, which will continue with In Total Darkness at Galerie Marian Goodman, Paris, and In Broad Daylight at Perrotin, Paris, which will be on view concurrently this Fall, in October 2022. The Awakening’s point of departure is the life and work of the pioneering Jamaican-born activist Marcus Garvey (1887-1940). A charismatic leader, Garvey incorporated the Black-owned steamship company The Black Star Line (1919-1922), which aimed to unify and connect people of African descent worldwide, via both the transport of emigrants back to Africa and through the shipment of goods among people of the African Diaspora. The Black Star Line (a play on the luxury British steamship The White Star Line) was created with the support of the Universal Negro Improvement Association (UNIA) which Garvey founded in 1914, and embodied tenets of black self-determination and autonomy heralded by the UNIA.Almost a century later, Strachan acknowledges Garvey’s profound influence upon history, as well as his personal importance to the Bahamian-born artist. An artist committed to redressing historical bias, Strachan mines the archives of history to turn the lens in a different direction and to invert the trans-Atlantic story. Drawing on influences that span from jazz, reggae, hip-hop, to sports and culture, science and space, Strachan applies a dub aesthetic within his practice, sampling and recombining from sites of human ambition and the archives of history to create works that address a dynamic range of subjects and counter established narratives. Reflecting on Garvey’s legacy, Tavares Strachan initiates the exhibition with Septimius Severus, 2022, a newly imagined installation titled after the eponymous African Roman Emperor (145-211 CE), which continues the artist’s ongoing project Encyclopedia of Invisibility. An expansive site-specific environment becomes a conduit for the exploration of the exhibition’s metaphor of the dawn, in which the viewer traverses from North and South Galleries to differentiate darkness and light. In this immersive experience, one encounters congruous and hermetic spaces. Through the exhibition, Tavares creates parallel worlds and tension points that reflect upon structures of knowledge. These relational frameworks allow counterpoints to develop in response to tropes of authority, unearthing how meaning changes when contexts shift.Tavares Strachan was born in 1979 in Nassau, Bahamas, and currently lives and works between New York City and Nassau. He received a BFA in Glass from the Rhode Island School of Design in 2003 and an MFA from Yale University in 2006. Strachan’s work has been the feature of many exhibitions, including Always, Sometimes, Never, Frye Art Museum, Seattle, WA (2018); You Belong Here, Prospect 3. Biennial, New Orleans, LA (2014); The Immeasurable Daydream, Biennale de Lyon, France (2013); Polar Eclipse, The Bahamas National Pavilion 55th Venice Biennale, Italy (2013); Seen/Unseen, Undisclosed Exhibition, New York, NY (2011); Orthostatic Tolerance: It Might Not Be Such a Bad Idea if I Never Went Home Again, MIT List Visual Arts Center, Cambridge, MA (2010); and You Can Do Whatever You Like (Orthostatic Tolerance Project), Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA (2009); among others. He has created site-specific installations for the Barclays Center, Brooklyn, NY (2021), and at the Baltimore Museum of Art, MD (2018). Strachan has also been the recipient of numerous awards including Artist in Residence at the Getty Research Institute (2019-2020); Frontier Art Prize (2018), and the Allen Institute’s inaugural artist-in-residence (2018); LACMA Art + Technology Lab Artist Grant (2014); Tiffany Foundation Grant (2008); Grand Arts Residency Fellowship (2007), and the Alice B. Kimball Fellowship (2006).
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