光明与阴影：“保持安静”的2022惠特尼双年展 | "Quiet as It’s Kept"

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“保持安静”（Quiet as It’s Kept）

2022惠特尼双年展 | The Whitney Biennial 2022

*封面及视频来源于惠特尼美术馆官网，原作品为Jacky Connolly, Descent into Hell, 2021

4月6日，受疫情影响推迟一年的2022惠特尼双年展以“保持安静”（“Quiet as It’s Kept”）为主题正式拉开帷幕。第80届惠特尼双年展由博物馆表演项目策展人艾德里安·爱德华兹（Adrienne Edwards）和首席策展计划总监大卫·布雷斯林（David Breslin）共同策划，共呈现63位/组艺术家，他们跨代际与跨学科的活跃创作与思考共同着眼于当下美国正经历的挑战、复杂境遇与多种可能性。

After a year’s pandemic delay, the Whitney Biennial 2022 officially kicks off with the theme “Quiet as It’s Kept” on April 6, 2022, while the previews for members started on March 31, 2022. The eightieth edition of the Whitney Biennial is co-curated by Adrienne Edwards and David Breslin, featuring an intergenerational and interdisciplinary group of sixty-three artists and collectives whose dynamic works reflect the challenges, complexities, and possibilities of the American experience today.

”保持安静“——2022惠特尼双年展

“Quiet as It’s Kept” —The Whitney Biennial 2022

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关于2022年惠特尼双年展……

Regarding the 2022 Whitney Biennial...

自1932年起，惠特尼双年展一直着眼于美国艺术景观的调研，致力于反馈并塑造文化对话。如果聚焦本届双年展自发端到正式向公众开放的时间跨度，不难发现其正好覆盖了美国社会近几年来的“大事记”：此次双年展的策划始于2019年末，彼时，疫情爆发、激昂奋起的种族平等宣言、对机构及其结构的质疑以及2020总统大选都还尚未发生。而在当下，策展人艾德里安·爱德华兹与大卫·布雷斯林清晰地意识到，随着疫情的蔓延，在整个美国社会，甚至于全世界中爆发的冲突、分裂与争论的根本问题与底层叙事虽然并不新鲜，然而近年来，一种过去、现在与未来相互交叠相融的语境也在逐渐重构。

Since 1932, the Whitney Biennial has surveyed the landscape of American art, reflecting and shaping the cultural conversation. If we pay attention to the time span of this edition of the Whitney Biennial from its beginning to its opening, it is not difficult to realize that the biennale has precisely covered the chronicle of events in American society in recent years. The planning of the biennale by the curatorial teams was initiated in late 2019—prior to the outbreak of the pandemic, the uprisings demanding racial justice, the widespread questioning of institutions and their structures, and the 2020 presidential election. Currently, however, Adrienne Edwards and David Breslin have clearly realized that although the underlying conditions of all conflicts, separations, and altercations that broke out with the pandemic are not fresh, they have gradually reconstructed a context in which past, present, and future folded into one another.

2022惠特尼双年展策展人艾德里安·爱德华兹与大卫·布雷斯林。摄影：布莱恩·德巴拉

Whitney Biennial 2022 curators Adrienne Edwards and David Breslin. Photograph by Bryan Derballa

抽象、观念、个人叙事、边界、跨代际、跨专业等构成了本届惠特尼双年展的关键词，在策展团队的构想中，在这一系列极为丰富多元的直觉体验中，“美国”一词所包含的物理与心理边界都将透过艺术作品的传达得以丰富和扩展；同时，当下的境遇也将被我们尚未认知的、或是被忽视的艺术形态及艺术家所重新想象，由此，艺术创作的边界与空间将再度被探讨。

Abstract, conceptual, personal narrative, boundaries, intergenerational and interdisciplinary, etc., these terms are regarded as the keywords of the Whitney Biennial 2022. In the conception of the curatorial team, in this series of extremely rich and diverse hunches, the physical and psychological boundaries behind the word “America” would be enriched and expanded through the communication of artworks. At the same time, the current situation would also be re-imagined by art forms and artists that we have not yet recognized or neglected so that the boundary and space of art creation will be re-explored and re-discussed.

丹尼尔·约瑟夫·马丁内斯（Daniel Joseph Martinez）以借五位流行文化“后人类”反英雄形象进行自拍创作，包括《科学怪人》、《德古拉伯爵》和《X 档案》中的外星赏金猎人。

致谢《纽约时报》查理·鲁宾。

Daniel Joseph Martinez photographed himself in the guise of five pop-cultural “post-human” antiheroes, including Frankenstein, Count Dracula and the Alien Bounty Hunter from “The X-Files.”

Credit. Charlie Rubin for The New York Times

有别于诸多大型国际展览倾向于选择的一种蕴含“统一”性质的主题，本届惠特尼双年展以“保持安静”这一俗语为主题颇具意味。在小说家托尼·莫里森（Toni Morrison）、爵士鼓手马克斯·罗奇（Max Roach）和艺术家大卫·哈蒙斯（David Hammons）的作品中都曾引用该句，常用于一些显而易见却需保密的内容之前，由此，不难看出此次展览对当下一些不言而喻的现实所表达的无奈与批判。

Compared to a unified theme that many other large-scale international exhibitions tend to choose, the Whitney Biennale’s theme “Quiet as It’s Kept” seems to contain some implications. This colloquial phrase has been invoked by novelist Toni Morrison, jazz drummer Max Roach, and in their works, which are typically said before something—often obvious—that should be kept secret. Hence, it is obvious to see the helplessness and criticism regarding the self-evident realities that the biennale intends to convey.

原住民艺术家丽贝卡·贝尔莫尔《火》，2021年，陶土和子弹壳铸件，2021 年；背景为瓜达卢佩·罗萨莱斯拍摄的东洛杉矶，2022年。致谢《纽约时报》查理·鲁宾。

Indigenous artist Rebecca Belmore, ishkode (fire), sculpture, clay and bullet casings, 2021

In the background, Guadalupe Rosales’s photographs of East Los Angeles, 2022.

Credit. Charlie Rubin for The New York Times

在策展人采访中，大卫·布雷斯林谈到，尽管展览从策划到落地经历了诸多变动，“但有一点一直坚持的是希望在两个主要楼层呈现出完全不同的感觉，由此来强调当下的两极分化。”不包含任何永久性建筑的五层被充足的光线所覆盖，暗示着一种不稳定却开放的氛围，也包含着人们对不知是否会来临的希望所进行的讨论与期待；与之相反，六楼的设计则显得如迷宫一般，黑暗的墙壁，一个更容易被引导走向的空间。同时，布雷斯林也谈到，关注“激活”、“变化”与“新陈代谢”，构建一个有“生命”的展览，也是其在策划之初就纳入思考的话题，其体现在不同的作品会随着展览时间的延伸而发生变化，从这一点上也回溯了当下动荡的局势，以及博物馆对这些不稳定的变化所应当承担的责任感。

In the interview with the curators, David Breslin mentioned that “one thing that we resolved was to have the two main floors of the exhibition feel completely different from each other to address the polarity of the moment.” Specifically, the fifth floor without any permanent architecture is light-filled, which implies an unstable but open atmosphere. While on the contrary, the sixth floor, is more like a labyrinth with dark walls, a space in which visitors are more easily to be guided the directions. Meanwhile, Breslin also mentioned their constant considerations in terms of activation, change, or metabolism, as well as making the show with a “life”, from the very beginning. The ideas will be embodied in the fact that different works would be “changed” or “developed” during the show’s run at several various points. By doing so, it echoes the turbulent situations and the responsibility of the museum for these unstable changes currently.

艾德里安·爱德华兹拜访艺术家工作室。摄影：大卫·布雷斯林

Adrienne Edwards visiting an artist’s studio. Photograph by David Breslin

两位双年展策展人共同进行实地考察。摄影：大卫·布雷斯林

The Biennial curators travel together for site visits. Photograph by David Breslin

据悉，2022惠特尼双年展将持续至9月5日。

It is reported that the Whitney Biennial 2022 will remains on view till September 5, 2022.

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2022年惠特尼双年展必看作品推荐

Editor’s Choice of the Must-Sees at the 2022 Whitney Biennial

丽贝卡·贝尔莫尔 Rebecca Belmore

加拿大阿尼希纳比族（北美印地安人民族之一）艺术家丽贝卡·贝尔莫尔创作了雕塑中令人注目的人物形象。她披上睡袋来创作人体的轮廓，然后再用陶土浇铸。这个无面人物形象身处数千个空弹壳铸件中间，正如艺术家所说，“我们无法克服继续对彼此所施加的暴力——以及我们对地球所进行的摧残。”

Canadian Anishinaabe artist Rebecca Belmore made an arresting figure in the sculpture. She draped an actual sleeping bag to create the contours of a human body and cast it in clay. A faceless figure stands amidst thousands of empty bullet castings which become a protective barrier. It implies as Belmore puts it, “our inability to overcome the violence we continue to wage against each other—and the violence we commit against the earth.”

丽贝卡·贝尔莫尔，《火》原胚，2021年，陶土和子弹壳铸件，图片致谢艺术家。

Rebecca Belmore, prototype for ishkode (fire), 2021. Clay and bullet casings. Collection of the artist; image courtesy the artist. Photo: Henri Robideau

托尼·科克斯 Tony Cokes

托尼·科克斯因在视频装置中结合大众文化、意识形态和黑人经历而知名。正如科克斯所说，他的作品“都以某种方式与美国有关”。他为本届惠特尼双年展创作的视频作品围绕着警察暴力和新冠疫情的主题，其中包含了性手枪乐队主唱约翰·莱登、美国民权英雄和政治家约翰·刘易斯以及2019年被警察扼喉后致死的23岁美国黑人伊莱贾·麦克莱恩等人的话语。

Tony Cokes are known for combining mass culture, ideology and the Black experience in his video installations. As Cokes has put it, his works are “all about America in one way or another.” For the Biennial, he made videos about police violence and the pandemic showing the words of the Sex Pistol’s John Lydon, U.S. civil rights hero and statesman John Lewis, and the twenty-three-year-old Elijah McClain who died after being placed in a chokehold by police in 2019.

HS LST WRDZ, 2021

车学庆 Theresa Hak Kyung Cha

韩裔美国作家、艺术家车学庆通过以兼具实验性和前卫性的文体描写韩裔美国人身份认同感的著作《听写》（1995）对美国亚裔艺术家群体产生了很大的影响。以她的影像作品形式进行的小型回顾展示以及来自韩裔美国艺术家罗米拉的视频作品，是分别基于文本和时间的作品，后者也在作品中向已故艺术家车学庆致敬。通过使用红外夜视摄像头，罗米拉在作品中反思了神话如何与当代暴力、殖民主义以及欲望相交集。

Considered an avant-garde artist, Theresa Hak Kyung Cha’s interdisciplinary background was evident in Dcitee, which experiments with juxtaposition and hypertext of both print and visual media and it has exerted a great influence on following American artists of Asian origin. A mini-survey devoted to Theresa Hak Kyung Cha and the video installation that Na Mira paid homage to Theresa are text-based and time-based works. Using an infrared night camera, Mira reflects on how mythology intersect with contemporary lived experiences of violence, colonialism and desire.

车学庆影像作品《排列》剧照，1976年。16毫米胶片，黑白，无声；10分钟。加州大学伯克利艺术博物馆和太平洋电影资料馆；车学庆档案馆赠予。

A still from Theresa Hak Kyung Cha’s Permutations, 1976. 16mm film, black and white, silent; 10 min. University of California, Berkeley Art Museum and Pacific Film Archive; gift of the Theresa Hak Kyung Cha Archive

罗米拉，《夜视》（从未有过的红色）及现场，2022年现场拍摄：Ben Davis

Na Mira, Night Vision (Red as never been), 2022, Photo by Ben Davis.

艾米丽·巴克 Emily Barker

洛杉矶艺术家和残障人士倡导者艾米丽·巴克的创作源于残障人士们使用轮椅的经历。《厨房》中的操作台面被故意放大到美国成年男性平均身高5英尺9英寸的高度，来展示“看似平凡的建筑环境和批量生产的物品是如何每天在伤害人们。”

LA-based artist and disability advocate Emily Barker(they/them) based her work on their experiences using a wheelchair. The height of the countertops in Kitchen was exaggerated to reach 5’9” which is the average height of adult men in the U.S., showing how “the seemingly mundane built environment and the mass production of objects harm people every day.”

艾米丽·巴克, 《厨房》， 2019年

Emily Barker, Kitchen (2019)

Source: https://variablewest.com/2021/09/30/interview-emily-barker-eliza-levison/

詹姆斯·利特尔 James Little

用混合蜂蜡的油彩绘制，詹姆斯·利特尔的几何抽象作品表达了自由的形式，正如他所阐述的，“抽象为我提供了自主和自由的意志。这是解放。”

Executed in oils mixed with beeswax, James Little’s work in geometric abstraction conveys the form of freedom. “Abstraction provided me with self-determination and free will. It was liberating,” he puts it.

詹姆斯·利特尔, 《借来的时光》， 2021

图片拍摄 Ron Amstutz/致谢艺术家和芝加哥Kavi Gupta Gallery

James Little, Borrowed Times, 2021.

Photo by Ron Amstutz/Courtesy the artist and Kavi Gupta Gallery, Chicago

安德鲁·罗伯茨 Andrew Roberts

安德鲁·罗伯茨是本届惠特尼双年展中最年轻的艺术家，他在作品《部落》中展示了一群由计算机生成的人物形象，他们的眼睛有淤伤和腐烂，他们都穿着印有诸如亚马逊，墨西哥电信无线通信公司等科技巨头标识的T恤。该创作基于诸如僵尸等不死生物形象的历史转变来探讨电影和视频游戏行业如何建立霸权视角，僵尸和恐怖类型题材已被种族和殖民现象所贯穿。

Being the youngest artist in the Biennial, Andrew Roberts present a group of computer-generated people with bruised and decaying eyes in La Horda. They all wear shirts featuring the logos of tech giants, such as amazon and telcel. It anchors it production on the historical transformation of the undead, through which the artist explores how the cinematographic and video game industries have built a hegemonic perspective in which the figure of the zombie and horror genre are traversed by racial and colonial phenomena.

安德鲁·罗伯茨，《部落》， 2020年，展览现场图片拍摄 Ben Davis

Andrew Roberts, La horda (The horde), 2020. Photo by Ben Davis.

安德鲁·罗伯茨，《部落》(细节），2020年，八屏影像装置，彩色，有声，每屏3-4分钟

Andrew Roberts, La horda (The horde), 2020 (detail). Eight-channel video installation, color, sound; each channel approx. 3-4 min.

艺讯网综合报道，致谢惠特尼美术馆、《纽约时报》、《澎湃》、《艺术新闻》等，详见参考资料。编译：Sue & Emily

News Roundup on Whitney Biennale 2022 by CAFA ART INFO. Courtesy of Whitney Museum of American Art, The New York Times, The Paper, ARTFORUM, etc. Check the References for more info. Edited and Translated by Sue and Emily/CAFA ART INFO

References:

https://whitney.org/exhibitions/2022-biennial

https://blog.calarts.edu/2022/01/26/calartians-selected-for-whitney-biennial-2022/

https://www.vogue.com/article/a-glimpse-into-this-years-whitney-biennial

https://graziamagazine.com/us/articles/2022-whitney-biennial-meet-the-artist/

https://www.artnews.com/art-news/reviews/whitney-biennial-2022-review-1234623262/#!

https://observer.com/list/the-must-sees-at-the-2022-whitney-biennial/

https://www.nytimes.com/2022/03/31/arts/design/whitney-biennial-review.html?searchResultPosition=2

https://m.thepaper.cn/rss_newsDetail_17287056?from=

http://www.artforum.com.cn/news/13033

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