走来走去的视界——哈恩•内夫肯斯影像收藏展

展讯信息

主办：何香凝美术馆
协办：巴塞罗那哈恩·内夫肯斯基金会
特别鸣谢：鹿特丹博伊曼斯·范伯宁恩美术馆、荷兰驻广州总领事馆

参展艺术家：
阿德尔·阿布德赛姆德、安里·萨拉、阿拉什·纳西里、比尔·维奥拉、迪蒙塔斯·纳尔科维奇、法比恩·瑞戈伯特、皮皮洛蒂·瑞斯特、山姆·泰勒-伍德、施林·奈沙、全昭侹、周滔、兹韦勒图·姆特图瓦

展览总监：乐正维、哈恩·内夫肯斯
策展人：希尔德·提尔林克、冯博一、苟娴煦
策展助理：颜烈民
展览协调：刘钢

开幕：2017年4月15日16：30-18：00
展期：2017年4月16日—7月9日
地点：何香凝美术馆4-8厅

二十世纪六十年代中期，影像艺术首先在西方诞生和兴起。虽然中国的影像艺术开始于八十年代末，晚于西方近三十年，但其发展方兴未艾，并逐渐与世界同步。尤其是二十一世纪以来，影像在我们的生活中几乎无所不在，它比以往任何时候都更加深刻和潜移默化地影响着人类的认知。

何香凝美术馆一直关注国内外当代艺术的生态和进程，注重中外当代艺术的交流和推介。本次展览，我们荣幸地与哈恩•内夫肯斯先生及其基金会合作，主办“走来走去的视界——哈恩•内夫肯斯影像收藏展览”。哈恩•内夫肯斯先生是荷兰著名的收藏家和作家，以他命名的基金会旨在支持新生艺术家进行创作，通过颁发奖项及奖学金、举办展览和多学科的艺术家驻地等项目来实现这个使命。哈恩•内夫肯斯先生从2000年开始建立收藏系列，并有选择地与美术馆及其他艺术机构合作展出。此次展览，我们从哈恩•内夫肯斯先生的收藏中挑选了十二件影像作品呈现给中国的观众。

本次展览将出现多位具有国际知名度的艺术家的影像作品，例如美国艺术家比尔·维奥拉，他是国际公认当代最杰出的艺术家之一，曾经获得了许多荣誉，包括“麦克阿瑟奖”（1989年）、第21届“加泰罗尼亚国际奖”（2009年）和日本美术协会颁发的“高松宫殿下纪念世界文化奖”。英国艺术家山姆·泰勒-伍德是1990年代兴起的“英国青年艺术家”群体的成员，她最广为人知的作品是《哭泣的人》，拍摄了许多哭泣的好莱坞名流，包括罗宾·威廉斯、肖恩·潘、劳伦斯·菲什伯恩和保罗·纽曼。作为电影制作人，她因导演了电影《无处的男孩》（2009）和《五十度灰》（2015）而为人所熟知。伊朗裔艺术家施林·奈沙以影像、摄影和电影创作著称，她的作品受到无数次的认可，其中包括获得1999年威尼斯双年展“国际奖”、2009年威尼斯电影节“银狮奖最佳导演奖”等。伊朗裔的阿拉什·纳西里是一位85后艺术家，非常年轻，但已获得了一系列重要的国际奖项，其中包括比利时Les Enfants Terribles艺术节媒体奖、法国巴黎Côté-Court Pantin艺术节最佳实验短片奖等。他这次更是亲自来到深圳与观众、媒体见面。

每一位参展的艺术家以各自独特的方式叙述着自己的故事，将现实和虚幻、理性和情感混杂、交叠在一起，通过作品传递出他们在数码技术控制时代，对艺术与新媒体之间关系的认知、思考与实验。不仅如此，这十二位艺术家来自于伊朗、瑞士、立陶宛、美国、韩国、阿尔及利亚以及中国等地，他们有着不同的文化背景和民族身份，以及不同时代的成长经验和记忆。他们的作品为我们提供了一种全球性的文化视野，让我们能够了解这些艺术家如何利用影像艺术的视觉语言方式，表达对艺术的态度、立场和超验的诗意想象。

前言/Foreword

中国的影像艺术始于八十年代末，其发展方兴未艾，逐渐与世界同步。二十一世纪以来，影像无所不在，它比以往任何时候都更加深刻地影响着人类的认知，并且成为许多艺术家所应用的主要媒介之一。

何香凝美术馆一直关注国内外当代艺术的生态和进程，注重中外当代艺术的交流和推介。本次展览，我们荣幸地与哈恩•内夫肯斯基金会合作，从哈恩•内夫肯斯先生的收藏中挑选了十二件影像作品呈现给公众。

本次展览的参展艺术家以各自独特的方式叙述自己的故事，将现实和虚幻、理性和感性混杂、交叠在一起，通过作品传递出他们对数码技术控制时代艺术与新媒体之间的关系认知、思考与实验。不仅如此，这十二位艺术家来自伊朗、瑞士、立陶宛、美国、韩国等地，他们有着不尽相同的文化背景和民族身份，以及不同时代的成长经验。由此，他们的作品为我们提供了一种全球性的文化视野，让我们了解这些艺术家如何利用影像艺术的视觉语言方式，表达对艺术的态度、立场和超验的诗意想象。

在此，我们谨向哈恩·内夫肯斯先生和他的基金会，以及策展人希尔德·提尔林克女士的支持表示由衷的谢意，并感谢鹿特丹博伊曼斯·范伯宁恩美术馆和荷兰驻广州总领事馆的鼎力相助！

超越，追寻普世之诗/Crossing Over, In Search of Global Poetry 作者：哈恩·内夫肯斯/Han Nefkens

小时候，我经常幻想自己的灵魂能够飘然地进入到其他人的头脑中，比如药房的那位女士，某个骑自行车的男孩儿，抑或是我家附近湖边钓鱼的那个男士。当我沉浸在别人的世界里时，我总想知道他们早餐吃了什么？在想什么？他们如何看待这个世界？我渴望逃离自己的大脑，它深深地根植于我的想象力和好奇心之中。这是一种冒险的感觉、一种与他人相知的期冀。我甚至给这种能力起了一个叫“超越”名字。

对“超越”的祈求，可以说塑造了我的一生：高中毕业后，我就离家出走，前往异国栖居，学习他们的语言，感受他们的人文风情。透过艺术，我发现了一种能够使我彻底地浸淫于他人世界的方法，即借用艺术家的眼睛，远离自我地观看这个世界。

对艺术家的选择自然而然地反映了我对其他不同文化的求知欲，以及对另类自我表达的兴趣。而这次展览的参展艺术家所吸引我的，正是他们讲述故事的独特方式：他们不仅仅是通过对事物的描绘，更是通过空白与间隙来塑造他们各自的世界，恰如诗人一般。于是，我们这些观众，得以通过想象延续这个世外桃园，或也可以成为一位诗人，即使只有几分钟的瞬间。

谨此，我希望邀请您在驻足观看这些影像作品时，灵魂出窍般地超越自我，以艺术家之眼重新凝视这个世界。我相信，在迷失于这些作品中之后，你将会重新发现自我。正如我所觉知的那样。
我很荣幸和欣慰地与这个展览的观众共同分享艺术家所呈现的这趟旅程。

As a child I fantasized about leaving my own head and settling for a while in that of a perfect stranger; the lady from the pharmacy, a boy on a bicycle, the man fishing in the lake near our house. I wanted to immerse myself in the world of that other person; I wanted to know what they had for breakfast, what their thoughts were, how they saw the world. I longed to escape from my own head, a longing that was rooted just as much in my imaginative powers as in a keen curiosity, a sense of adventure and a deep desire to connect with other people. I even had a name for it; I called it ‘crossing over’.

That desire to cross over has shaped my life; as soon as I finished high school I left home to live in other countries, learn other languages and discover other customs. Later, through art, I found the ultimate way to lose myself in the other, to take distance from who I am and see the world through the eyes of the artist.

It is only natural that my choice of artists reflects my passion to know about other cultures and to learn about other ways to express ourselves. What attracts me to the artists represented here is their very particular way of telling a story; they evoke their world not only by showing things but also by leaving things out, just as poets do. That way, we, the viewers, have a chance to continue imagining that other world, to be a poet ourselves, even if only for a couple of minutes.
I invite you to leave your own head while watching the videos, to cross over and see the world through the eyes of these artists. I am sure you will find, as I did, that by losing yourself in their work you will ultimately find yourself.
It is with great pleasure that I share my journey with the visitors of this exhibition. Just like the artists represented.

走来走去或空空荡荡的视界/A Shifting or Empty Field of Vision 作者：冯博一/Feng Boyi

艺术家对当代文化的敏感与思考，将导致创作观念、方法、媒介上的不断实验和探索，其中媒介的重要性是不言而喻的。随着科学技术的发展，艺术总是伴随着媒介的更新而发生着新的演变。二十世纪六十年代中期，影像艺术首先在西方诞生和兴起，可以说最具代表性和说明性。虽然中国影像艺术开始于八十年代末，晚于西方近三十年，但其发展方兴未艾，并逐渐与世界同步。尤其是二十一世纪以来，影像几乎无所不在，它比以往任何时候都更加深刻和潜移默化地影响着人类的认知。而影像艺术已成为一种以动态影像作为核心媒介的多种影像处理和装置环境综合使用的方式，并为当今许多艺术家所应用的主要媒介之一。

哈恩•内夫肯斯先生是荷兰著名收藏家、作家。2000年开始建立他的收藏系列，并有选择地与美术馆及其他艺术机构合作展出。目前共收藏有469件作品，包括艺术、摄影和服装设计等。其中，录像、电影和数码影像作品约有35件。哈恩•内夫肯斯先生作为收藏家，他的收藏如他本人一样，难以进行分类；作为一位作家，影像艺术或许正契合了他对语言叙事的追求；而作为个人，他最大的愿望就是和来自不同文化背景的艺术和观众共同分享与交流。正如他在文章里所表述的——这些艺术家“不仅仅是通过影像艺术呈现现实，更是通过空白的间隙来塑造他们各自的世界，恰如诗人一般。于是，我们这些观众，得以通过诗意的想象，寻求美好的世外桃园”。

2009年，以哈恩·内夫肯斯命名的基金会在西班牙的巴塞罗那创立，“通过艺术将人们连接起来”是其基本宗旨。同时，基金会以评选、颁奖、奖学金、承担艺术家创作费用、举办展览和多学科的艺术家驻地项目来实现这一使命。目前，哈恩•内夫肯斯基金会已经建立了遍布全球的专家学者的沟通网络，获得了许多奖项和学术活动的参与者和提名者。这些项目则为那些杰出的新生艺术家、设计师和写作者提供在国际性环境中发展的机会。尤其是选择一些来自于世界各地，特别是与非西方国家坚守创作的艺术家进行合作，支持那些尚未成名的青年艺术家创作，以使他们能够更多地发挥想象力和创作潜能。这次在何香凝美术馆展出的中国艺术家周涛和韩国艺术家全昭侹的两件影像作品，就是采取这样的评选方式，并纳入其收藏系列的新作。由此构成了哈恩•内夫肯斯先生和他的基金会对艺术家创作、收藏、展示，以及与观众互动交流的运作机制。

何香凝美术馆一直关注于国内外当代艺术的生态和进程，注重中外当代艺术的交流和推介。这次我们很荣幸地与哈恩•内夫肯斯先生及其基金会合作，主办了“走来走去的视界——哈恩•内夫肯斯影像收藏展览”。十二件来自于世界各地不同文化背景和身份艺术家的影像作品，从各自相异的角度，以影像媒介直接或间接地表现了他们对数码技术控制时代，艺术与新媒体之间的认知、思考与实验，为我们中国的艺术界和广大观众提供了技术革命给艺术带来的新视域和新感受。这些作品既具有根植于所在地域的文化特殊性，又可以获得文化全球化的视野，并相对清晰地观赏、了解这些艺术家如何利用影像艺术的媒介方式，表达他们对艺术的态度、立场和超验的诗意想象。从中不仅可以看到科技的进步和新兴艺术的崛起，也为传统美学、创作方式提示出了新的范畴和课题，为此，我们对哈恩·内夫肯斯先生和他的基金会，策展人希尔德·提尔林克女士，以及荷兰鹿特丹博伊曼斯·范伯宁恩美术馆、荷兰驻广州总领事馆的鼎力支持、协助表示由衷地感谢！

艺术有主流与边缘之分，其间不同文化圈的共生与对话需要多元的声音。对话的前提是差异，而差异必然要求对话各方自身的独立性，这个独立性的体现就是对艺术的态度和艺术创作的自主。因此，边缘不断地干预和挑战中心，这才不会使社会只有一种独白的声音，甚至作为复调的自身对话，在社会中才能构成众生的喧哗和艺术的多元表达，从而包容思想的共生与歧义，以及艺术系统内部的复杂运动。同时，艺术又具有虚置的本质，艺术更像是梦境，与现实隔着一层。而这种想象的虚构，使观者获得了一种非具体的关系。艺术正是通过艺术家、观者与作品中虚拟的人物、场域、景观发生关系，在“我”与“他”的关系中寻求到某种释放。因此，创作者能发挥自己的情感倾向与内心隐秘，无需在与他人的真实关系中掩饰自己。人们正是通过进入虚拟的影像世界而得以疏离现实世界的沉重，成为社会现实之外的一块飞地，一片人类可以栖息的乐园。恰如哈恩·内夫肯斯先生收藏的这些影像艺术作品，可以在他们诗意的栖居中乐此不疲一般。

The artist's sensitivity and pondering of contemporary culture will lead him to constant experimentation and exploration in his creative concepts, methods and mediums. Among these things, the importance of medium goes without saying. Artistic mediums have continuously evolved in step with advances in technology. Video art, first born in the West in the mid-1960s, stands as a very representative and demonstrative case. Chinese video art began in the late 1980s, some thirty years after its emergence in the West, but it continues to develop, and is coming to match the rest of the world. This has particularly been the case in the 21st century, where cinema has grown ubiquitous, and has come to influence human cognition in ways both more profound and subtle than ever before. Video art has evolved into a comprehensive artistic approach that incorporates multiple cinematic techniques and installation environments around a core of moving image, and is today the primary creative medium for many artists.

Han Nefkens is a famous Dutch art collector and writer. He began building his collection (H+F Colletion) in 2000, and has worked selectively with art museums and other institutions to exhibit his collection. The collection currently consists of 469 items, including art, photography and fashion design. This includes 35 works of film and video works. Like Mr. Nefkens himself, his collection does not easily fall into any categorization. Perhaps, as a writer, video art is in keeping with his own linguistic narrative pursuits. As an individual, his greatest desire is to share and exchange art from different cultural backgrounds with audiences. Just as he stated in his essay, “They evoke their world not only by showing things but also by leaving things out, just as poets do. That way, we, the viewers, have a chance to continue imagining that other world.”

The Han Nefkens Foundation was established in Barcelona, Spain, in 2009, with the mission of “connecting people through art.” The foundation carries out this mission by conferring awards and scholarships, providing production financing for artist works, holding exhibitions, and sponsoring multidisciplinary residency programs. The Han Nefkens foundation has established a worldwide network of experts and scholars who nominate candidates and participants for programs devised to provide international developmental opportunities to outstanding emerging artists, designers and writers. The foundation collaborates with artists around the world, particularly those from non-Western countries, and supports the work of young, undiscovered artists to help them unleash their imagination and creative potential. Here at He Xiangning Art Museum, the foundation is presenting new video works recently entered into the H+F Colletion by Chinese artist Zhou Tao and Korean artist Sojung Jun. These fit perfectly with the mechanisms for creative support, collection, exhibition and audience interaction pursued by Han Nefkens and his foundation.

He Xiangning Art Museum has long focused on the environment for contemporary art in China and its progression, and worked to foster exchange and promotion of contemporary art between China and the rest of the world. It is my good fortune to work together with Han Nefkens and his foundation for In Search of Global Poetry: Videos from the Han Nefkens Collection. The exhibition presents twelve video works by artists of different cultural backgrounds and identities from around the world. These works directly and indirectly express the artists’ recognition, thinking and experimentation on the relationship between art and new media in an era of digital technology, and provide new vision and perceptions of the technological revolution for artists and audiences in China. The works in this exhibition are rooted in their specific regional cultures, while also providing a global cultural vision, allowing us to clearly appreciate and understand the ways in which these artists employ the visual language methods of video art to express their attitudes, views and transcendental poetic imaginations towards art. From this, not only can we see the progress of technology and the rise of new art, but we are also exposed to new realms and topics for traditional aesthetics and creative methods. For this, we are eternally grateful to Han Nefkens, his foundation, and curator Hilde Teerlinck, for their support and assistance.

In art, there is a mainstream, and there are margins. Within this, diverse voices are needed to facilitate coexistence and dialogue between different cultural spheres. Dialogue is predicated on difference, and difference inevitably demands the independence of each interlocutor, independence manifest through artistic attitudes and creative autonomy. Thus, as the margins constantly interject in and challenge the center, society becomes more than just a single voice, and comes to comprise diverse expressions, tolerating and embracing coexistence in difference, and complex movements within the system of art. Meanwhile, art is also virtual in essence. Art is more like a dream, one step removed from reality. This imaginary construct gives the viewer a non-concrete relationship. Art creates a relationship between artist, viewer and the virtual figures, fields or scenes in the artwork to seek out a form of release within the relationship between “self” and “other.” Thus, the artist is able to draw from his emotional leanings and inner secrets, with no need to conceal himself in these real relationships with others. Through the virtual world of cinema, people gain detachment from the heavy world of reality that makes for a realm outside of the social reality, a garden of refuge. This is much like works of the artists featured in this exhibition, where we find endless joy.

展览部分作品