2020.8.25-2020.9.22
木木艺术社区 | 隆福文化中心
我们非常荣幸地宣布木木艺术社区将迎来著名尼日利亚裔英籍艺术家因卡·修尼巴尔的影像展映活动，呈现艺术家的两件重要影像作品《奥吉莉亚与奥杰塔》（2005）和《永别了，过去的美梦》（2011）。修尼巴尔在其三十年的艺术生涯中不断反思和探究欧洲殖民历史对非洲人身份认知的影响以及族群离散问题。在此次展映的作品中，艺术家延续了其对西方艺术经典的引用和改编，他拒绝从单一视角看待视觉身份认同和文化表征，并试图构建一个具有文化混杂性和多元性的开放场域。此次的影像展映活动将在木木艺术社区位于隆福大厦9层的展厅进行，大楼顶层的仿古建筑部分再现了兴建于明景泰三年的隆福寺原貌。隆福寺是明代京城唯一的番（喇嘛）、禅（和尚）同驻的寺院，反映了当时的文化迁移以及文化间的交叉影响。观众将有机会在中国传统建筑空间内欣赏到英国当代艺术家对于历史和文化的反思。因卡·修尼巴尔的影像展映是接下来一系列相关活动与项目中的第一项，旨在于中国甚至东亚语境下重新审视后殖民主义、族群离散等议题。修尼巴尔表示：“我非常荣幸木木美术馆能够在这个前所未有的时期展出我的作品。这将是我的影片第一次在中国展映，并以如此独特的方式呈现。我很高兴能为后殖民主义和族群离散议题在当前背景下展开广泛而深刻的对话贡献一份自己的力量。”
Digital video, colour, sound / High definition digital soundCourtesy the artist, Stephen Friedman Gallery, London and James Cohan Gallery, New York, Commissioned by the Royal Opera House, Covent Garden, London, 2005修尼巴尔与英国伦敦皇家歌剧院合作创作了《奥吉莉亚与奥杰塔》，对柴可夫斯基的经典芭蕾舞剧《天鹅湖》进行了重新想象和诠释。主角奥杰塔和奥吉莉亚作为“善”与“恶”的化身，通常由同一位女芭蕾舞演员身着白色和黑色芭蕾舞裙出演。艺术家打破了这一惯常的人物编排，两个角色分别由一位白人和黑人舞者扮演。她们在华丽的空镜框两侧面对面同时起舞，相同的装扮、对称的舞姿造成镜像反射的错觉。作品记录了表演者在练习室内舞蹈的全过程，其间没有音乐，只有芭蕾舞鞋尖碰触地板所发出的富有韵律的声响。在创作过程中，两台摄影机分别从镜框两侧进行拍摄，舞蹈当中以及两遍舞蹈之间的视角切换使观众能够从“镜子”两侧欣赏表演，营造出交错重叠的视觉效果。影像的叙事和结构揭示了两个角色之间既疏离又关联的微妙关系。她们之间相互依存、相互建构，形成了对立统一的整体。
修尼巴尔在采访中曾说道：“我发现这一想法非常有趣，即你无法摆脱欧洲来定义非洲。那种认为非洲与欧洲——‘异域的他者’和‘文明的欧洲人’——是二元对立的观点将问题过分简单化。我致力于打破两者之间的割裂状态，实现不同身份的交叠重合。”
Digital video, colour and soundCourtesy the artist, James Cohan Gallery, New York, Stephen Friedman Gallery, London and Goodman Gallery, South Africa 《永别了，过去的美梦》取材于威尔第的著名歌剧《茶花女》中的同名唱段，它是女主人公薇奥莉塔在病入膏肓时所演唱的一首有关背叛、爱情和失去的咏叹调。修尼巴尔替换了剧中角色，由一位扮演成弗兰西斯·尼斯比特的黑人歌唱家出演。尼斯比特是18世纪末19世纪初英国著名海军将领霍雷肖·纳尔逊的妻子。纳尔逊背叛了尼斯比特，并与汉密尔顿夫人长期维持着婚外情关系。影片中，尼斯比特哀叹自己的悲惨生活和丈夫的缺席，甚至幻想着丈夫死去的画面。这些假想的死亡场景借鉴了西方著名的绘画作品，它们作为女主人公饱受煎熬的内心和白日梦的具象表现，穿插于演唱画面之间。影片中，纳尔逊将军作为大英帝国鼎盛时期的象征，其自身的个体性被剥夺，成为一种纯粹隐喻性的存在。与艺术家之前创作的《化妆舞会》（2004）一样，作品看似是影像的循环播放，实则为表演者一遍遍地重复演唱，暗示了悲伤情绪的无尽循环，凸显出女主人公内心的绝望与无助。修尼巴尔通过影片探讨了命运这一概念并由此引申出对欲望、向往、爱、力量和性别压抑等话题的思考。作品拍摄于伦敦周边的锡永公园。这里曾是诺森伯兰公爵的故居，建于16世纪，并于18世纪由当时最负盛名的设计师进行了大规模改建以彰显时代风尚——罗伯特·亚当负责建筑改造，兰斯洛特·布朗则主导了风景园林的设计。这一拍摄地点的选择是艺术家对贵族和财富象征的隐喻。
因卡·修尼巴尔1962年出生于英国伦敦，先后就读于伦敦柏亚姆肖艺术学校和伦敦大学金史密斯学院。其跨领域的艺术实践通过引用西方艺术和文学经典，讨论文化和民族身份在全球化语境下的合法性问题。他的作品通过探寻种族、阶级和文化身份建构等议题，对非洲和欧洲之间错综复杂的相互关系及其各自的经济、政治过往进行反思和回应。2004年，修尼巴尔入围英国特纳奖。2008年，他的个人事业中期回顾展在悉尼当代艺术博物馆举行，并巡展至纽约布鲁克林博物馆和华盛顿史密森尼国立非洲艺术博物馆。2010年，他受委托创作的首个公共艺术作品《瓶中的纳尔逊战舰》亮相伦敦特拉法加广场第四基座，并被英国国家海事博物馆收藏。修尼巴尔荣获2013年皇家学院奖，并于2019年被授予大英帝国司令勋章（CBE）。同年，其装置作品《大英图书馆》被伦敦泰特美术馆收藏，当下正展出于泰特现代美术馆。修尼巴尔的作品被国际知名艺术博物馆收藏，其中包括伦敦泰特美术馆、华盛顿史密森尼国立非洲艺术博物馆、纽约现代艺术博物馆、斯德哥尔摩现代美术馆和芝加哥当代艺术博物馆等。
放映时间：8月25日-9月22日，每天11:00-19:00，18:30停止入场。
预约方式：免费预约，请扫描下方二维码。除9月5日、9月17日、9月18日为VIP专场不对公众开放，其他日期均可正常预约。
地址：北京市东城区隆福寺街95号隆福大厦9层一殿。
入场方式：由隆福大厦西门进入，抵达九层后，向保安出示预约二维码并扫描北京健康宝登记本人信息，即可进入九层空间前往一殿；到达一殿后，在接待台提供预约二维码，验证预约信息，核实后即可观展。
观展须知：影片放映期间不可录像，观众只能在观影区域内活动，请听从现场工作人员指引，遵守疫情期间的场地限制。
Yinka Shonibare: Radical HybridityCurated by Victor Wang
Aug 25 – Sep 22th
M WOODS Temple Galleries
M WOODS is proud to première two film works in our Temple Galleries by the influential British-born Nigerian artist Yinka Shonibare CBE (b. 1962).
Yinka Shonibare CBE, who was awarded the CBE (Commander of the Most Excellent Order of the British Empire) in 2019, has spent three decades exploring the European colonial impact on African identities and their diasporas. Rather than taking a fixed position on visual identity and cultural representation, Shonibare opens up a space of cultural hybridity and duality in his practice.
The films are shown within the museum’s specially reconstructed Ming dynasty temples that were originally built on the museum’s current site in 1452 by the Jingtai Emperor of the Ming dynasty. These temples were the only ones in the city to accommodate both lamas and monks.
Visitors are invited to view Shonibare’s films Odile and Odette (2005) and Addio del Passato (2011) within this unique setting and context of the rebuilt temples, thus combining tradition, Chinese history and contemporary art. The period during which the temples were built was also itself a significant one in terms of cultural migration and cross-pollination in a Chinese context.
This première also marks the first project in a new series of programming and initiatives at M WOODS that will reconsider aspects of post-colonial theory, diasporic knowledge and Black intellectual thought in the context of China and East Asia.
“I’m delighted that M WOODS have chosen to show my films at this prescient time”. Says artist Yinka Shonibare CBE. “This will be the first significant presentation of my films in China, in such a unique setting and I’m happy to contribute to the wider important conversations on post-colonial affects and diasporic influence within this context.” (Yinka Shonibare CBE)
About the films:
Odile and Odette (2005-2006) is a film made in collaboration with the Royal Opera House. Here, Shonibare re-imagines a classical episode from Tchaikovsky’s Ballet Swan Lake, where the lead roles 'Odile' and 'Odette' engage in a close dialogue of gestures and movement. Odile and Odette are characters which embody “good” and “evil” and are traditionally danced by a sole prima ballerina. The artist transforms this classical part into a complex and subtle interplay between two dancers in which the duality of the characters is played out in racial difference. Mirroring each other’s expression on either side of an ornate Baroque frame, Shonibare suggests that their movement is both estranged and united. The dancers perform a passage from the ballet in a studio stage set to silence, the rhythm of their pointe shoes creates the only soundtrack to the film.Filmed from one side of a “stage set” but using two cameras, the doubling effect is further played out as the dancers switch side of the mirror frame and creates a visual environment where the viewer is privileged to see the work performed from both sides of the 'mirror'. The film's narrative and construction suggest that both characters are one and that their complex relationship is both co-dependent and formed by each other.In a recent interview Shonibare said: “What I find interesting is the idea that you cannot define Africa without Europe. The idea that there is some kind of dichotomy between Africa and Europe - between the ‘exotic other’ and the ‘civilized European’, if you like - I think is completely simplistic. I am interested in exploring the mythology of these two so-called separate spheres, and in creating an overlap of identities.”
Addio del Passato (2011) is the title of an aria about betrayal, love and loss from Verdi’s opera La Traviata, sung by the dying heroine Violetta. In this film Shonibare alters the characters so the aria is performed by a black singer in the guise of Frances Nisbet, the wife who Nelson betrayed and abandoned during a lengthy affair with Lady Hamilton. Here Nisbet agonizes over her own life and Nelson’s absence, even envisaging his death in a series of tableaux (the Fake Death Pictures) that occur outside the immediate action of the film, as though giving form to her tortured thoughts and daydreams.Addio del Passato is Shonibare’s first investigation of Nelson’s wider human story; more typically he views Nelson in a purely metaphorical sense, as a cipher for empire. As an artist he works with aesthetics, metaphor, politics; indeed, his headless and faceless figures are purposefully not “individuals” with whom we could identify as people. As such, despite its obvious artifice, the level of emotional intensity and engagement offered by Addio del Passatois unexpected, breathtaking. Like Un Ballo in Maschera (2004), this work features what at first seems to be the looping of the film. However, this is not a loop, but an actual live replaying, the singer beginning her song and her walk through the house and landscape again. In this case the repeated action implies an endless cycle of sadness and despair that amplifies the potency of feeling and sense of hopelessness. The film explores the concept of destiny as it relates to themes of desire, yearning, love, power and sexual repression.The film was shot in the magnificent surroundings of Syon Park, just outside London, which is the ancestral home of the Duke of Northumberland. Originally built in the sixteenth century, it was extensively remodeled in the eighteenth century by two of the most renowned designers of the period to reflect contemporary fashions - Robert Adam working on the house and Capability Brown on the landscape. This location extends Shonibare’s reference to the aristocracy and the trappings of wealth.
About the Artist:
Yinka Shonibare CBE (b. London, UK, 1962 -) studied Fine Art at Byam Shaw School of Art (1989) and received his MFA from Goldsmiths College, London, (1991).His interdisciplinary practice uses citations of Western art history and literature to question the validity of contemporary cultural and national identities within the context of globalization. Through examining race, class and the construction of cultural identity, his works comment on the tangled interrelationship between Africa and Europe, and their respective economic and political histories.In 2004, he was nominated for the Turner Prize and in 2008, his mid-career survey began at Museum of Contemporary Art, Sydney; touring to the Brooklyn Museum, New York and the Museum of African Art at the Smithsonian Institute, Washington D.C. In 2010, his first public art commission Nelson’s Ship in a Bottle was displayed on the Fourth Plinth in Trafalgar Square, London, and was acquired by the National Maritime Museum, Greenwich, London.In 2013, he was elected as a Royal Academician and was awarded the honour of ‘Commander of the Order of the British Empire’ in the 2019 New Year’s Honours List. His installation ‘The British Library’ was acquired by Tate in 2019 and is currently on display at Tate Modern, London.His work is included in notable museum collections including Tate, London; the National Museum of African Art, Smithsonian Institute, Washington D.C.; Museum of Modern Art, New York; Guggenheim Abu Dhabi; Moderna Museet, Stockholm and the Museum of Contemporary Art, Chicago.
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