2020纽约军械库艺博会精彩直击| A Live Report of The Armory Show 2020
在纽约哈德逊河畔举办的军械库艺博会（The Armory Show）作为纽约最大型的艺术博览会，每年都受到全球艺术爱好者和藏家们的极大关注。今年军械库艺博会的展期为3月5日至3月8日，恰好避开了闭幕后随即在纽约爆发的新型冠状病毒疫情。尽管疫情在3月1日已正式登陆纽约，但大部分参展方表示，不仅3月4日的VIP预展丝毫没有受到影响，与画廊有长期合作关系的藏家们也都纷纷到场支持，随后面对公众开放的展期也迎来了相当大的客流量。
As the most influential art fair in New York, the Armory Show taking place annually on the Hudson River piers attracts significant attention from art lovers and collectors around the world. Held from March 5th to 8th, this year's fair ended right before the coronavirus outbreak started to sweep through New York City. Although Manhattan's first case of the coronavirus had been confirmed on March 1st, the VIP preview on March 4 was not affected at all. As told by many exhibitors, not merely all of the collectors that they have long collaborated with showed up, but considerable numbers of visitors also came to the fair during the subsequent public hours.
The Armory Show
©️The Armory Show: https://www.thearmoryshow.com/
在各个参展方收获可观交易量的同时，本次军械库艺博会在单元设定、展场划分和信息传达等方面也花足了心思，为观众制造了很流畅的观看体验。这离不开主办方所倾力打造的学术团队，受邀而来的众多业内著名策展人将来自32个国家的183间画廊划分为五个单元展示：「焦点(Focus)」，「视角(Perspective)」，「画廊(Galleries)」,「 呈现(Presents)」 和「平台(Platform)」。接下来我将通过一系列精选作品的呈现，依次介绍这五个单元所侧重的方面。
While most exhibitors turned out to have high transaction volume, the general public also enjoyed a smooth flow when walking through the fair. Such a viewing experience cannot be achieved without the organizer's efforts in designating the most relevant theme for each unit of the show, planning the exhibition venue according to the thematic division, and effectively disseminating information. The fair called up a group of highly credentialed curators to make an informed decision on how to accommodate 182 galleries from 32 countries in five different sections: Focus, Perspective, Galleries, Presents, and Platform. While introducing a series of works highlighted by the fair, I will also explain the different aspects that the five sections focus on.
Gabriella Sanchez, Old Merchant God, 2020, Charlie James Gallery, Los Angeles
由洛杉矶当代艺术中心策展人Jamillah James负责策划的「 焦点(Focus)」单元位于90号码头。作为整个艺博会最先进入观众眼帘的部分，参展的画廊都选择了一至两位艺术家的作品，对“身份找寻和历史重述”这一命题做出回应。
Staged on Pier 90, the Focus curated by Jamillah James, a curator at the Institute of Contemporary Art (Los Angeles), was the beginning section of the fair. Each participating gallery had to come up with a solo- and dual-artist presentation responding to the notions of alternate versions of self and revisionist histories.
来自洛杉矶的画廊Charlie James Gallery带来了两位将霓虹灯管挪用到装置中的艺术家Patrick Martinez和Gabriella Sanchez。他们的作品通过重组一些具有加州特色的视觉元素，在勾勒出一个典型的美国式的生活场景之时，也暗示了潜藏在消费主义遮罩下的个体身份认知的危机。
This year was the first time for Curro Gallery (Mexico) to participate in the Armory Show. Alejandro Almanza Pereda, the artist represented by the gallery, avoided touching on the complex history between Mexico and America directly. Instead, he took the symbolic meaning from concrete as a modern architectural material, cast pillars around Western landscape paintings in a minimalist style, and exhibited this series of works in a way that mimicked the Paris Salon during the late eighteenth century. Within such an exaggerated and even ridiculous scene, the artist indicated his perception of the paradoxical relationship between the Western tradition and modernity.
Patrick Martinez, Auntie Sylvia and Cousin Lorena, 2020, Charlie James Gallery, Los Angeles
首次参加军械库艺博会的Curro画廊来自墨西哥的瓜达拉哈拉。艺术家Alejandro Almanza Pereda避开直接谈论墨西哥与美国之间的复杂历史，而是通过用现代建筑材料混凝土将一系列西方传统风景画包裹起来，并用欧洲传统沙龙的形式对这组作品进行夸张以至于荒谬的陈列，以此间接表达了自己作为一个西方语境中的“他者”如何看待西方文明与现代性之间的关系。
This year was the first time for Curro Gallery (Mexico) to participate in the Armory Show. Alejandro Almanza Pereda, the artist represented by the gallery, avoided touching on the complex history between Mexico and America directly. Instead, he took the symbolic meaning from concrete as a modern architectural material, cast pillars around Western landscape paintings in a minimalist style, and exhibited this series of works in a way that mimicked the Paris Salon during the late eighteenth century. Within such an exaggerated and even ridiculous scene, the artist indicated his perception of the paradoxical relationship between the Western tradition and modernity.
Alejandro Almanza Pereda, Fear of Empty Space, 2020, Galeria Curro, Guadalajara (Mexico)
焦点单元吸引最多人驻足观看的，是一个描绘了卢浮宫被洪水淹没之情境的影像装置和用于拍摄这一场景的微缩模型。这一作品的灵感源头来自于法国2018年的洪水事件。艺术家Tezi Gabunia通过虚构一个未来可能会发生的场景，批判了当时法国政府对这一由气候变化带来的自然灾害放任不管、无所作为的态度。
For anyone who walked through the Focus, it was impossible to miss a video installation showing a Medici Gallery in Louvre filled by the flood and a miniature model used to shoot this video. The source of the inspiration for this work came from the Paris flood of 2018. Bringing viewers close to what had not happened but easily could have, the artist Tezi Gabunia criticized the French government for its laissez-faire attitudes towards natural disasters caused by climate change.
Tezi Gabunia, Breaking News: The Flooding Of The Louvre, 2018-20, Galerie Kornfeld, Germany
紧接着焦点单元的，是由丹佛当代艺术博物馆馆长Nora Burnett Abrams策划的「视角(Perspective)」。在这个历史回顾性的单元，策展人邀请观者用常见于当代艺术中的视角来对20世纪的作品进行再观看。比如位于展厅最前侧的Susan Sheehan Gallery就通过展出一系列由女性艺术家制作的版画，探讨了这一群体如何推动版画成为二十世纪艺术史中的一种重要媒介。
Perspective, the unit following Focus, was curated by the Director of Denver Art Museum Nora Burnett Abrams. In this retrospective section, the curator invited the audience to re-examine 20th-century artworks within the context of contemporary art. For example, Susan Sheehan Gallery located at the entry of Perspective showcased a series of prints by 20th-century women artists, revealing how this group of artists elevated the status of print-making and made it an essential part of the 20th-century art history.
Brice Marden, Zen Studios, 1991, Etching, Susan Sheehan Gallery, New York
Vija Celmins, Untitled (Ocean), 1972, Lithography, Susan Sheehan Gallery, New York
也许是担心观众在观看了大量经典作品后感到乏味，策展人特意在这一单元中安排了一个现场表演。由Cristin Gallery代理的艺术家Tim Youd端坐在一台打字机前，将一张纸反复使用，记录一本书中的字句，直到纸张被油墨覆盖至全黑甚至破碎。
To boost the enthusiasm for the classics, the curator specially arranged a live performance for the audience halfway through this unit. The artist Tim Youd represented by Cristin Gallery sat still in front of a typewriter, transcribing all the words of a classic American fiction one page by running it through the typewriter over and over again. This piece of paper was gradually filled with black ink and finally damaged.
表演现场
Tim Youd，View of Performance，Cristin Gallery，New York
位于94码头的「画廊(Galleries)」是军械库展览的核心部分。来自世界各地的109家国际知名画廊在此展示了20世纪和21世纪最杰出的艺术家的作品。这一单元主要以大型油画和雕塑为主，在满足传统藏家的品味之余，也穿插着一些让人眼前一亮的作品。
Galleries staged on 94 Pier was the core section of the Armory Show, as it featured outstanding 20th- and 21st-century artworks presented by leading international galleries from 109 countries. Filled with large paintings and massive sculptures catering traditional collectors' taste, the whole venue was also interspersed with works that refreshed viewers.
意大利画廊Apalazzo Gallery为这次展会准备了一组打印在玻璃板上的胶片。这组由Jonas Mekas创作的作品曾在2015年的威尼斯双年展上被放大镶嵌在当地的一个教堂里作为彩画玻璃。
Apalazzo Gallery (Italy) brought many colorful glass sheets with films printed on them. Titled An Instant It All Came Back to Me, this series of work by Jonas Mekas was enlarged to the size of mosaic stained glass and exhibited at a local church during the Venice Biennale 2015.
Jonas Mekas, In an instant it all came back to me, Apalazzo Gallery, Brescia (Italy)
Kehinde Wiley, Portrait of Prince Anthony, 2020, Roberts Projects, Los Angeles
Chris Huen Sin Kan, Balltsz and Joel, 2020, Simon Lee, New York
Ged Quinn, Bloodstream Sub Tilia, 2019, Stephen Friedman Gallery
Yinka Shonibare, Diana of Gabii, 2019, James Cohan, New York
「 呈现(Presents)」板块专为创办10年以下的画廊，提供展出新晋艺术家的个展或双个展的机会，今年共有26家画廊参加。这一单元的作品多呈现出温馨柔和的质感，触及更多艺术家私人化的故事与内在的表达。当Mehdi Ghadyanloo把有关户外活动的童年记忆统统收纳在盒子里，Elias Hansen则把彩色玻璃器皿摆放成了一个冥想仪式的现场，二者皆充满疗愈功能。
Presents was a platform for galleries no more than ten years old to showcase recent works from emerging artists. With the participation of 26 galleries, this unit highlighted the next generation of artistic talents in an intimate setting. With a warm and soft tacticity, most works selected to exhibit here explored the private stories of the artists and their inner world. As Mehdi Ghadyanloo created a time capsule by interiorizing childhood memories about outdoor activities, Elias Hansen set up a ritual stage for meditation with colorful glass vessels. Both artists were able to create a scene with therapeutic power.
Mehdi Ghadyanloo, The Joy Factory, 2020, Dastan’s Basement, Tehran
Mehdi Ghadyanloo, Genealogy of Isolation, 2020, Dastan’s Basement, Tehran
Elias Hansen, A Place for Death to Rest, 2019, Halsey Mckay Gallery, New York
由洛杉矶当代艺术中心总监Anne Ellegood负责的「平台(Platform)」共展出了七件大型作品，分别散落在展馆的各个地方。这些作品在回应并激活展览的工业场地的同时，也探讨了“讽刺”、“夸张”、“怪诞”等常见于漫画的表现手法如何在严肃的艺术和文学作品中被作为批判工具。
Anne Ellegood, Executive Director of the Institute of Contemporary Art (Los Angeles) curated Platform, a section devoted to large-scale installations that respond to and activate the fair’s industrial venue. The projects consider how techniques of satire, exaggeration, and grotesque that commonly seen in comics and animations could be used in art and literature as sharp tools of social critique.
艺术家在Trulee Hall在绘画中将女性的身体简化成为一对对乳房，甚至在雕塑作品中直接将乳房替换成了一颗颗苹果。这一极端物化女性的视觉呈现在女性主义的时代潮流中显得无比政治不正确。而这一夸张的手法，实则意在讽刺从未彻底被根治的父权社会的意识形态。
The artist Trulee Hall simplified the female body into a pair of breasts in her painting, and even replaced the breasts with apples directly in her sculpture. The hyper-sexualization of women seemed extremely politically incorrect in the tide of the feminist era. However, the technique of exaggeration is intended to ridicule and problematize the ideology deeply embedded in the patriarchal society.
Trulee Hall 的装置现场，2019, Maccarone West Gallery
Two-channel video (color, sound); oil, acrylic, and collage on board; acrylic, resin, papier-mâché, aquarium pebbles, wood, metal, carpet.
Courtesy the artist and Maccarone Los Angeles.
(Original image credit: Trulee Hall, Eves' Mime Ménage, 2019).
Source: https://www.whitewall.art/art/brutal-truths-armory-show
当泥塑动画短片只是作为Trulee Hall装置的一个细节在小显示器上播放，Nathalie Djurberg和 Hans Berg制作的定格动画却被投影在大尺寸的荧幕上。荧幕前摆放着四个同样画风的珍奇动植物雕塑，在聚光灯的照射下，为观众营造出一种介于沉浸式剧场和影院之间的体验。相对于Trulee Hall带有讽刺意味的怪诞感，Nathalie Djurberg和Hans Berg的作品似乎并不意在批判，而更多地是在呈现人类潜意识里善与恶，欲望与克制之间的辩证关系。
While the clay animation in Trulee Hall's installation was played on a small display, the stop motion animation by Nathalie Djurberg and Hans Berg was projected on a large screen. Illuminated by the spotlight, animals and plants of rare species sculpted in the same style of the animation created the immersive theater experience for the audience. Compared to the ironic grotesque of Trulee Hall, the work of Nathalie Djurberg and Hans Berg did not serve a critical purpose. Instead, it is more about the dialectical relationship between good and evil, desire and restraint in the human subconscious.
Nathalie Djurberg and Hans Berg, This is Heaven, 2019, Tanya Bonakdar Gallery, New York, Los Angeles
与切实可感的艺术作品在物理空间里发生最直接的关系，这在当下虚拟图像爆炸的时代里绝对是一件令人愉悦的事情。当对作品的解读不会被美术馆式的教育标签过度左右，每一个人都可以凭借着纯粹视觉层面的观感，在踱步间慢慢察觉出策展人们埋藏在一系列作品中的逻辑。这也许就是军械库艺博会最迷人的地方。
In an image-saturated era, encountering tangible works of art in person is definitely one of the most pleasant things to do. Throughout the fair, there are no museum labels that often limit the interpretations of art. Each visitor is encouraged to trust their visual sensibility, and to find out the logic deployed by the curators in terms of weaving together all kinds of artworks. This is perhaps the most charming tradition of the Armory Show.
艺博会现场
Inside the Armory Art Show, running through March 8 at Piers 90 and 94, in Manhattan.
Credit Jeenah Moon for The New York Times
Source: https://www.nytimes.com/2020/03/05/arts/design/armory-show-art-fair.html
文、图（除标注外）／吴佩悦
Text and Image by Peiyue Wu
(Except for special annotations)
编辑／Sue
Edited by Sue
WeChat Typeset by Emily Weimeng Zhou
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