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【上苑现场】被绑的流浪者:Susana Wessling (葡萄牙) & Natalia Kalic

[2019-8-25 19:09:39]


Strays on Leashes:

Susana Wessling & Natalia Kalicki Duo Exhibition

被绑的流浪者Susana Wessling (葡萄牙) & Natalia Kalicki (波兰) 双人展

poster_shangyuan.jpeg


开幕式时间:2019年8月24日

展览时间:2019年8月24日 — 28日

主办方:北京上苑艺术馆
展览地址:北京市怀柔区桥梓镇沙峪口村上苑艺术馆

Opening: August 24th, 2019
Exhibition Period: 
August 24th to 28th, 2019

Sponsor: Shangyuan Art Museum, Beijing

Venue: Exhibition Hall, Shangyuan Art Museum, Shayukou Village, Qiaozi County, Huairou District, Beijing


前言 Introduction

Susana Wessling is currently developing a six-part project based on the “Six memos for the Next Millennium” by Italo Calvino. In the Shangyuan Residency she has been working on the second memo: Quickness. Under this brief she has been exploring how different ways of expressing time in writing can be applied to her painting and the interactions they establish in the viewer. This project reflects on different approaches to storytelling and the different degrees to which a narrative is known or unknown. A little bit like seeing only a part of a bigger whole that does not allow itself for be known fully, a little bit like a stray on a leash.


Susana Wessling目前正在研究一个由六个部分组成的项目,其项目主旨乃基于Italo Calvino的“下一个千禧年的六个备忘录”。在上苑艺术馆驻留期间,她一直在研究第二个项目:快速。总结而言则是她一直在探索如何把在写作中表达时间的不同方式应用到她的绘画中并关注它在观者中所建立的互动反应。这个项目反映了讲故事的不同方法,以及一个故事的已知或未知的不同程度。有点像窥视着来自更宏伟却不允许自己被完全理解的整体的一小部分,有点像一个被绑的流浪者。


Natalia Kalicki is fixated on two stone lions. Such statues are placed on either side of front doors to ward off ghosts. Their dignified mouths are frozen agape. This series investigates the ways in which symbolism morphs when the context of a specific mythology combines with unexpected visitors. How do guardian lions, as vestiges of the past, behave in the 21st century? Could they themselves be embodied ghosts? Are they perplexed? Or could they be, just a little bit, like a stray on a leash? 


Natalia Kalicki着迷于中国的石狮子。这些雕像被放置在前门的两侧,以驱赶鬼魂。他们威严的嘴巴永远都张得巨大。本系列探讨了象征主义在特定神话的背景下与不速之客结合时的变化方式。守护石狮——作为过去的遗迹——在21世纪的当今是如何表现的?他们自己会成为鬼魂吗?他们会感到困惑吗?或者他们有点像一群被绑的流浪者?


现场图片





上苑艺术馆收藏 Natalia Kalicki (波兰) 作品1


上苑艺术馆收藏 Natalia Kalicki (波兰) 作品2


上苑艺术馆收藏 Natalia Kalicki (波兰) 作品3


上苑艺术馆收藏 Susana Wessling (葡萄牙) 作品1


上苑艺术馆收藏 Susana Wessling (葡萄牙) 作品2











娜塔莉娅·卡利茨基作品:




苏珊娜·韦思林作品:




关于苏珊娜和娜塔莉亚作品的随想


苏珊娜和娜塔莉亚是两个非常有活力的姑娘,从她们的简历中,我认识到介绍她们来自何方是一件比较复杂的事情,她们的国籍、出生地和生活过的国家是纵横交错的,所以我们不难理解为何此次二人展的主题为“拴上绳的流浪狗”。她们虽然年纪轻轻,但她们已夹带着多重身份在不停地搬迁和游走中体验着流浪般的生活,丰富的经历带给她们灵感和创作欲望。她们都是第一次来中国,在上苑艺术馆生活的这段日子里,她们异常顽强地完成了她们的“嫁接”工作,每天在被蚊子猛烈叮咬地同时,她们一手捧着咖啡杯,一手驱赶着蚊子军,在闷热难耐的工作室里往画布上倾倒着她们的所思所想……这次展览她们各自展出了布面油画、纸本绘画和装置作品,这批作品是她们过去作品的延续,除了一以贯之的艺术风格,她们将如何把这个陌生环境带给她们的一切安放进她们的作品里呢?  


第一眼看到苏珊娜的两幅大尺寸油画时,我想到了中国传统山水画的其中一种大面积留白结构的画面,那些留白内容无外乎水或云,但苏珊娜用了一种独特的清冷色调,在多幅作品中她始终执着于这种色调,我想这一定具备某种意味,它既不抢眼也不平乏,轻柔的笔触细腻地集合和分散,在存在和虚无中另辟蹊径找到了这个落脚点,她想在这个大背景里安放点什么呢?一截桥?一根水柱?一块飘荡的布?一个龟裂的出口?眼白里的网?流动的时针?粘连不断的排浪……我说出这一切既是模棱两可的,也是徒劳的,因为我只是用一双未经连电的双眼去捕捉它们,我能追到的只是一个逐渐遁入无形的影子,它们能牵引出什么?可能是事物的本质,也可能是苏珊娜洗涤记忆后所遗留的痕迹,也可能它们串联着一幕幕戏剧,也可能是她安放敏感气息的港湾,她的目的不得而知,故而才让画面愈加神秘,画面的一切没用爪子般的力量伸向观者,淡淡的漠视,轻轻地自吟,这种感觉和中国古人的山水画所描绘的境界何其相似!大概融进山水、云雾、宇宙里都是自觉且自然的过程。


苏珊娜的纸上绘画充满了理性主义的意味,抽象几何图案里,黑暗、封闭、密集、锋利的气息像箭一样射破我们的视网膜,里面隐约流动的绿色搅动了死一般的沉寂,人若知道了黑夜的力量,便不再迷恋着观摩白天,因为黑夜里存在着白天的一切之外,还存在着白天里看不到的和想不到的一切,白日梦只是黑夜生产的巨大的梦的一粒灰尘,黑暗是一种无比厚重饱实的容器,它的棱角多如牛毛,我们需要循着它的脾性才能探知奥秘和美,永远穿着黑色服饰的苏珊娜笑得那么灿烂,她抖掉了表层的象征主义之尘,重塑了黑之魅。


那么,白色的意义不见了吗?不,它成了地球的外衣,它被搁在地球仪的架子上,它凸凹不平,它转动了起来,那些凸凹不平的地方所形成的运动轨迹形成了航线、航海线、铁路线……它们白茫茫一片,白得像是没有一样,但却包罗千千万万存在的痕迹,一切是有限的,是更替的,是具体到苏珊娜的生命轨迹消融在了时间长河的沧海一粟间。   


接着,不再小心翼翼,这不是苏珊娜的行事风格,这是娜塔莉亚,特立独行的灵魂有很多种,娜塔莉亚就是重彩风格,她的随意和自由不羁让她不拘泥于一切相对论的局限,她的叛逆是显而易见的,她刚到这里的第二天清晨在下雨,我看到她打着赤脚在雨中随意挥动肢体,那不是扭捏的舞动,也没有婉转的曲线,她有点像个稚气未脱的幼儿在玩雨,好像看看雨会把她怎么样,我似乎从来没有看到成人世界里有这样鲜活的精灵。我不知道我的感知系统是否正常,后来,慢慢地,我越来越觉得她像一条鱼,在湿地上不停打挺跳跃的鱼,这种打挺的感觉就是叛逆,就是反其道而行之,即使反了两道弯,又回到原点,只要愿意,她可以对同一事物既认可又反对,只要反对眼前的腻味的质疑的讨厌的,都可以任意为之。中国于她是新鲜的,她的闲散就是她认识事物的方式,这种闲散就好比她刚好赤着脚,一只蚂蚁就爬了上来,她往草边一坐,蝴蝶就刚好停在她肩上,她也不看,任由蝴蝶和她共享她吐出来的烟雾。所以,她就这样随意把眼睛捡来的石头狮子挥洒进了画布上,然后,只是累了,就一只腿就搁在了狮子上,哪里又来了一只手摸了下狮子就跟摸一只宠物猫一样,高兴就趴在狮子身上想事情,比如,想这只中国狮子可是守护神啊,可以驱除妖魔鬼怪,好吧,娜塔莉亚本来也研究人类学,也不多一个东方的鬼神学,这与她一直以来在画面所创造的神秘气氛如此契合,从她的个人网站里,我们可以看到大量戏剧性画面的作品,奇怪的人,奇怪的表情,诡异的背景,突然冒出来的手,突然多出来的几只眼睛或者无面孔的头部,她的这种超现实主义的表达方式有它特定的点,既不过于魔幻又不平淡无奇,但她确实营造了一种将观者吸进去的魔力气息,我们像鸟,像昆虫,需要借由她撒的面包屑而去往一个神秘幽暗的角落里寻找点什么,我们每天经过银行和酒店,我们经过石狮,甚至坐在石狮的基座上休息和吃东西,却从来不去想石狮一直在用魔力保护着人们的安全和财运这回事,“鬼进不来”,她挥洒的不仅是色块,还有中国的汉字,写得有模有样。活物最有趣的莫过于人啦,于是吃面条和做雕塑的乔治就被提溜进了她的画布上,还有些其他有趣的人,她没放过且一并施展了她的魔法。我不知道人类学研究起来有多么严谨,但娜塔莉亚的松散向我表明了一些东西。 


娜塔莉亚的绘画是自由的,每一笔都是随意的,如同她乱遭的头发,你没法想象乱遭的头发会很美,所以,看她的画,要丢掉严谨和专注,只有松懈下来了,才能和她的作品同频共振,才能在某些随意的画面内容和结构里觅得一丝活着的气息,这么说,是因为我们有时候已经忘了我们已经死气沉沉。


拴上绳的流浪狗,无法窥见背后的主人,可能是上帝,也可能是现实生活,也可能是魔鬼,但是流浪狗一直在嗅着前方,它们如此敏锐,它们嗅着某种神秘而诱人的味道,在我眼里,那味道不可能是别的什么,就是意义,追求无意义也还是一种意义。


秦姣姣

  

Strays on leashes exhibition review


At first there was light, then, there was a word and it gradually turned into a line which suddenly became a story. A story of the universes that we constantly experience but rarely are able to identify, it is not just one unified universe but many, these universes somehow sneak on us, disappear and reappear in the constant breathing in and breathing out of life. Susana and Natalia managed to capture the moments in time of just these almost invisible universes combining the stories, moments of disconnected and yet essential elements that construct the reality of now. Why are these moments almost invisible one might ask, is it the initial awkwardness that makes them invisible to our consciousness that expects only the expected, the reality constructed according to the wishes of the experiencer?  


Colossal lions seemingly belonging to the otherworldly realm greet us, taking away the spirits that walk the trail we make. Gradually the concept of trail disappears as the gravity is twisting and turning all the objects that we are all too comfortable to place in a box of expectations and we go forward into the world of possibilities and impossibilities, bridging the gap somehow.


Susana and Natalia are challenging the concept of our all too comfortable reality, bringing together the ghosts of the past, guarding our present and future, but at the same time letting in the invisible powers to play around with our anthologies, books, powers of storytelling. A book can tell a thousand words with just a few lines, and that is exactly what was told, the line between a sculpture, a painting, a word got blurred and we are left before a mirror a word represents, to face our demons even though we guard every moment of our reality with our individual lions from the times past.


The body of work presented in here is actually exploring this construct in the greater depth, with the touch of Eastern mythology and belief systems that span several centuries to the Calvino’s elegant imaginatorium, these seemingly invisible and yet crucial elements make us experience and we only become aware of them briefly and rarely. We sometimes choose to ignore them because our consciousness seeks comfort, they are like ghosts that pass by the guardian lions (our consciousness) and play with the world of stories. Stories are the most primordial drops of imagination and sometimes it feels as if we have exhausted them all, the combinatorics of so many thoughts, so many centuries of transformation echoing the times they were made in, but, not today! Stories today lead us to the times from the past and present as they incorporate our lives, a lion from the past, a guardian playing in the subconscious mind as we play with it, trying to find something beyond. This beyond is a question mark unique to each of us and the pieces make us wonder about the universe one step further into the world, at the same time one step closer to ourselves as we discover, wonder, us wanderers... into the infinite. 


Irina Ideas


艺术家简介 About the artists:

Susana Wessling 苏珊娜·韦思林(葡萄牙/德国)


个人网站:www.susanawessling.com

电子邮箱:svtwessling@gmail.com


Susana Wessling is a half Portuguese half German visual artist currently living in Lithuania. Over the last seven years she has lived in five different countries and done residencies in four more. She draws from the experience of living in different places and moving often and her practice is based on collecting misfits, mishaps and mismatches that come to be in the liminal spaces created by this mobility.


Susana Wessling是一名有着半葡萄牙半德国血统的视觉艺术家,目前居住在立陶宛。在过去的七年里,她在五个不同的国家生活过,并在另外四个国家做过艺术驻留。她从生活在不同地方和经常迁移的经历中吸取经验,她的实践是基于收集不适应、不幸和不匹配的东西,这些东西由这种经常旅居异地而带来的流动性所创造并聚集到一个有限的空间中。

Selected projects


2019 EM EM Festival, Traku Vokės Manor, Vilnius, Lithuania

2019 Vagabond Club Residency, Singapore

2018 Ateljé Stundars Residency, Vaasa, Finland

2018 The reason why I don’t sit on roofs anymore, Ideas Block , Vilnius, Lithuania

2017 Bonkers Contemporary, Biscuit Factory, Edinburgh, UK

2017 SeMA Nanji 11, residency, Seoul Museum of Art, Seoul, Republic of Korea

2017 Sculpture, The Spectrum of Dream, International Sculpture Festa, KOSA Gallery, Seoul, Republic of Korea

2016 Custom Made, Leith Custom House, Edinburgh, UK

2016 Best of Degree show, Sixfoot Gallery, Glasgow, UK

2015 Interim - Talbot Rice Gallery, Edinburgh. UK




Natalia Kalicki 娜塔莉娅·卡利茨基(加拿大/波兰)


个人网站:www.nataliakalicki.com 

电子邮箱:natmsk@hotmail.com


Natalia Kalicki is a Canadian-Polish painter and anthropologist based in Leipzig, Germany. She has exhibited work in 5 countries, has attended 3 residencies, and was the coordinator of Pilotenkueche Art Residency in Leipzig Germany for 18 months. Her work includes participating in monthly MODS talks, curation, organising festivals, and facilitating partner outreach between institutions and collectives. She is currently studying the intersections of cultural production, mobility, urban development and art residency models at the University of Leipzig in the Anthropology Institute. This summer she is based at Shangyuan Museum AIR in Beijing. Next autumn she looks forward to an internship at the Artist Residency program at U-Jazdowski Castle in Warsaw, Poland.


Natalia Kalicki是一位居住在德国莱比锡的加拿大祖籍的波兰画家和人类学家。她曾在5个国家展出过其作品,参加过3次艺术驻留项目,并在德国莱比锡担任了为期18个月的皮滕库切艺术驻地协调员。她的工作包括参与每月的MODS讲座、策展、组织节日,以及促进机构与集体之间的伙伴关系。她目前在莱比锡大学人类学研究所学习文化生产、流动性、城市发展和艺术驻留模式的交互项目。今年夏天,她在北京上苑艺术馆做艺术驻留。明年秋天,她期待着在波兰华沙U-Jazdowski城堡的艺术家驻留项目实习。


Selected projects


2019, Museum On The Couch: Creative and Reflexive Explorations of the Ethnographic Collections. Grassi Museum. Leipzig, Germany

2019 Located - Dislocated. Krudebude. Leipzig, Germany

2019 …but these sunsets are better. Ars Avanti Gallery. Leipzig, Germany

2018 Access Granted: A Global on$pirac¥. LindeNOW Festival. Leipzig, Germany

2017 Tour De Franz. Open Studios, FF15. Leipzig, Germany

2017 Diversity Collection. LindeNOW Festival. Leipzig, Germany

2017 EAT THIS. Salon Similde. Leipzig, Germany

2016 Goodbye Horses. Pilotenkueche, Spinnerei. Leipzig, Germany

2016 Listhus A-I-R. ólafsfjöreur, Iceland. 

2016 PILOTENKUECHE Leipzig, Germany.


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