IAAC 7 | 了解一下这届评委的TASTE？

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NEWS

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在经历了上一周紧张而激烈的评选后，第七届国际艺术评论获奖与入围者名单终于也得以揭晓啦！面对如此多精彩的稿件，评委们是如何甄选出最终的四篇获奖文章呢？一起来看看评委们怎么说吧？

理查德·戴尔

Richard Dyer

国际学术期刊 《Third Text》主编

Editor-in-Chief of Third Text 

点评文章：《Aftermath: Lessons in Futurity from Lawrence Abu Hamdan》

作者：Eugene Yiu Nam Cheung  一等奖获得者

所评展览：Lawrence Abu Hamdan on YouTube

本届评委、国际学术期刊 《Third Text》主编理查德·戴尔（Richard Dyer）对一等奖的文章点评: 

“Eugene Yiu Nam Cheung 的文章对劳伦斯·阿布·哈姆丹近期发布于 YouTube 的影像项目 "后果: 劳伦斯·阿布·哈姆丹的未来之课 "做了评论，他将哈姆丹的艺术实践置于新冠阴云之下，文章在政治和社会议题上的强烈参与性和批判性引人深省。这也是艺术批评的应有之义：将艺术作品置于现实世界之中，阐明其因何而与生活实践产生关联，并探究作品是如何有力地揭露不公正、剥削或权力的倾斜，且将其平易地传达与读者。尤为称道的是，Eugene 避开了过度的斟酌和术语的堆砌，以优雅的散文形式完成了这一切。”

Richard Dyer, the Editor-in-Chief of Third Text commented about the overall prize-winner’s contribution: "Eugene Yiu Nam Cheung’s review Aftermath: Lessons in Futurity from Lawrence Abu Hamdan was politically and socially engaged, critically astute, and poignantly contextualised Hamdan’s practice within the dark framework of the Covid pandemic. It did exactly what good art criticism should do: elucidate why a work of art is relevant to the rest of life, locate it within the world, and make it comprehensible to the reader by revealing how a successful work functions as a powerful exposé of injustice, exploitation or imbalances of power, and he does all this with elegant and spare prose, unburdened by over-writing or jargon."  

丁宁

Ding Ning

北京大学艺术学院美术学系教授

Professor of Art History and Theory at the School of Arts, Peking University.

点评文章：《The Rock》

作者：Peter S Brock   二等奖获得者

所评展览：The Rock

本届评委、北京大学艺术学院美术学系教授丁宁对二等奖获奖文章《The Rock》点评：

“或许是因为作者本人也是艺术家出身，他特别能感同身受地阐释《石头》这一非同一般的临时性项目的朴素、卑微和哀伤，同时，也由衷地激赏由于其集体干预性的参与而时时透发出来的人性的闪光与希望。这样的读解令人感动，也引人深思。”

Perhaps because the author is an artist himself, he is particularly able to empathize with the simplicity, humility, and sadness of this extraordinary temporary work, "The Rock," while at the same time sincerely appreciating the glimmer of humanity and hope that emanates from time to time as a result of its collective intervention. Such a reading is moving and thought-provoking.

姚嘉善

Pauline J. Yao

现任香港M+视觉文化博物馆视觉艺术主策展人

Lead Curator, Visual Art, at M+

点评文章：《连空气都是甜的》

作者：王凯梅  二等奖获得者

所评展览：绝地通天

本届评委、香港M+视觉文化博物馆视觉艺术主策展人姚嘉善（ Pauline J. Yao）对二等奖获奖文章《连空气都是甜的》点评：

“本文以上海K11举办的展览“绝地通天”为评论对象，文章以清晰的行文结构，丰厚的知识储备和极具说服力的语言脱颖而出。作者以嗅觉和气味引入，为观看展览提供了一个不同寻常的感知维度，巧妙地让读者仿佛置身于现场，又进一步地在展览和全球性流行病的现实语境之间建立起更加广泛的联系。以此，文章不仅对艺术家个人、艺术作品及其周遭语境进行了详细的阐释，亦对全球文化、艺术商业化和人类欲望展开了敏锐而崭新的反思。”

With its clear structure, demonstrated knowledge of the field, and cogent prose, Even the Air Smells Sweet, a review of the contemporary art exhibition “Forget the Horizon” at K11 Shanghai, was a standout submission. It offered an unusual entry point through the sense of smell and fragrance—a clever way of situating the reader within the venue while also allowing for broader connections to be made to the context in which the exhibition took place, namely amidst a world pandemic. Adept at moving between detailed explanation of the individual artists and artworks and the surrounding context, the text presented a smart and fresh reflection on global culture, the commercialization of art, and human desire.

莉斯贝思· 雷波洛·贡萨尔维斯

Lisbeth Rebollo Gonçalves

现任巴黎国际艺术评论家协会主席

International President of the AICA, Paris

点评文章：《居间者的迫近》

作者：张浩  二等奖获得者

所评展览：格哈德·里希特：终究是绘画

本届评委、现任巴黎国际艺术评论家协会主席、巴西圣保罗大学教授莉斯贝思· 雷波洛·贡萨尔维斯对二等奖获奖文章《居间者的迫近》点评：

“作者围绕大都会艺术博物馆布鲁尔分馆举办的展览“格哈德·里希特：终究是绘画”为主题展开了极具洞见的评论。文章将艺术家格哈德·里希特六十年的创作轨迹娓娓道来，其间交织了对其部分作品的批评与反思。基于展览的焦点，作者在探索摄影与绘画之关系的过程中，同时向读者传达了其个人在审美层面的回应。”

The exhibition, “Gerhard Richter: Painting After All”, at the Met Breuer was the subject of a sensitive piece of critical writing by the author. In his text, the author interweaves an account of the artist’s sixty years’ trajectory with critical reflections on individual works along the way. In the process of exploring the relationship between photography and painting, which provides the focus of the exhibition, he also provides the reader with a personal account of his aesthetic responses.

IAAC 7

IAAC 7 获奖者介绍

Eugene Yiu Nam Cheung  一等奖获得者

获奖文章：Aftermath: Lessons in Futurity from Lawrence Abu Hamdan

所评展览：Lawrence Abu Hamdan on YouTube

艺术评论家、作家，获悉尼大学艺术史、性别研究与法律学位。其作品发表于《Art+Australia》、《Griffith Review》、《The Saturday Paper》、《4A Papers》、《Running Dog》和《PW-MagAZINE》等学术期刊，并于近期完成了在悉尼4A亚洲当代艺术中心和柏林KuLe艺术中心的驻留项目。Eugene是2020年伦敦大学伯克贝克分校Sarah Keenan博士举办的 "土地登记的关键视角 "研讨会的受邀学者。Eugene获得澳大利亚艺术委员会在2021-2022年期间的资助，创建了网络浏览器扩展和出版平台DECOLONIAL HACKER，致力于推动机构批判的创新和公众参与。目前是柏林Julia Stoschek收藏馆的策展助理与上海-柏林艺术和文化杂志《CODE》的执行编辑。

Eugene Yiu Nam Cheung is a writer based in Berlin, and founding editor of institutional critique platform Decolonial Hacker. He studied art history, gender studies and law at the University of Sydney, and is currently the curatorial assistant at the Julia Stoschek Collection.

Peter S Brock  二等奖获得者

获奖文章：The Rock

所评展览：The Rock

生活和工作于纽约布鲁克林的视觉艺术家、作家，获巴德学院绘画硕士学位，并曾于德国法兰克福的Staedelschule做客座学员。其作品关注于构建我们表述自然的那些希望与欲望，包括绘画、雕塑、录像和装置。最近参与的展览包括Rerun, Root Canal, Amsterdam; The Quadrangular Sky, Fastnet, Brooklyn; The Dying Sun, Calle Cedro 327, Mexico City; More Science Less Fear, 83 Pitt Street, New York; 和Neueroffnung, Federico Vavassori, Milan。其艺术评论已发表于《Texte Zur Kunst》、《The Brooklyn Rail》及《Frieze》。

"Peter Brock is a visual artist and writer based in Brooklyn, NY. His work addresses the hopes and desires that structure our representations of nature. He works in painting, sculpture, video and installation. Recent exhibitions include Rerun, Root Canal, Amsterdam; The Quadrangular Sky, Fastnet, Brooklyn; The Dying Sun, Calle Cedro 327, Mexico City; More Science Less Fear, 83 Pitt Street, New York; and Neueroffnung, Federico Vavassori, Milan. His art criticism has been published in Texte Zur Kunst, The Brooklyn Rail and Frieze. Brock earned an MFA from Bard College in painting and was a guest student at the Staedelschule in Frankfurt, Germany.

王凯梅 二等奖获得者

获奖文章：《连空气闻起来都是甜的》

所评展览：绝地通天(Forget The Horizon)

王凯梅，独立策展人，艺术写作者，译者。毕业于北京师范大学英语文学系，就读于斯德哥尔摩大学文学院，拥有苏富比艺术学院当代艺术硕士学位。长期从事艺术、电影策划和写作工作，为国内外艺术媒体机构撰写多种艺术主题的文章，研究兴趣围绕电影历史和影像艺术家，及具有个人风格的视觉艺术家与艺术史的关系。

2017年为瑞典艺术家在上海民生现代美术馆策划展览，2018年为视觉艺术家陈漫在瑞典摄影美术馆策划个展，电影大师伯格曼在华的影像展。她是2020年英文专著《当代画家丁乙》的合作作者，即将出版从瑞典文翻译中文的译作《伯格曼文集》。

Kaimei Wang is an independent curator, art writer and translator  based in Shanghai. She graduated from Beijing Normal University, Stockholm University and holds a master degree on study of contemporary art at the Sotheby’s Institute of Art. She  writes frequently diverse art-related issues for various media both in China and overseas. She is the co-writer of a book on contemporary painter Ding Yi published by Lund Humphries in London on March, 2020. Her research of interest covers film, photography and painters in relation to art history . 

She has curated Swedish artists exhibition “The Weather War” in Shanghai Minsheng Art Museum; Chinese photographer Chen Man’s exhibition “Fearless&Fabulous”in Fotografiska Museum in Stockholm and Ingmar Bergman photography exhibition in Shanghai . Her translation work “Ingmar Bergman Essay Collection”from Swedish to Chinese will be published in 2021. 

张浩 二等奖获得者

获奖文章：《居间者的迫近》

所评展览：“格哈德·里希特：终究是绘画”

（Gerhard Richter: Painting After All）

本科毕业于北京大学生物科学专业。于2013年转换跑道，开始在同济大学人文学院硕博连读，现为艺术哲学专业博士候选人。主要兴趣涵盖艺术哲学、欧美现当代艺术理论和实践，兼事相关艺术文本的翻译。先后于2015年和2017年赴柏林洪堡大学英美研究所和台湾师范大学艺术史研究所访学，合计一年。2017年9月至2019年9月，入选公派博士生联合培养项目，在柏林洪堡大学艺术与图像史学院研修。喜欢作为“普通观众”，探索可能方式，不断重返艺术现场，而艺术作品往往比其制作者的言说更能提供有效信息。

I graduated with B.S. in Biology from Peking University. In 2013, my track was changed and I started the successive postgraduate and doctoral programs of study at the School of Humanities, Tongji University, and currently I am a doctoral candidate majoring in Philosophy of Art. My main interests contain philosophy of art, theories and practices of modern and contemporary art in Europe and the United States, as well as translation of relevant art texts. In 2015 and 2017, as a visiting student, I successively studied in the Department of English and American Studies at Humboldt-Universität zu Berlin and the Graduate Institute of Art History at National Taiwan Normal University for a total of one year. From September 2017 to September 2019, I was selected into the joint training program of government-sponsored doctoral students and studied in the Department of Art and Visual History at Humboldt-Universität zu Berlin. I like to be a “common viewer” and explore possible ways to keep returning to the art scene, and the work of art often provide more effective information than the words of its producer.

IAAC 7

IAAC 7 中文入围名单

（按姓名首字母排序）

范蕊

入围文章：《未来建设者：技术，算法，超越物质性》

所评展览：非物质 / 再物质：计算机艺术简史

顾虔凡

入围文章：《库哈斯的乡村问题重重》

所评展览：乡村，即未来(Countryside, The Future)

洪颖

入围文章：《山间的沼泽 ——从策兰与海德格尔的会面看<全白的等候－林寿宇>》

所评展览：全白的等候－林寿宇

姜伊威

入围文章：《后窗中的家史、资本和艺术》

所评展览：李青“后窗”

刘畑

入围文章：《紧急中的沉思，或一个“奥斯维辛坐标”——兼论艺术与批评何为》

所评展览：紧急中的沉思(Meditations in an Emergency)

宋淇森

入围文章：《渲染乡村：又一个戏法？》

所评展览：乡村，即未来(Countryside, The Future)

杨儒

入围文章: 《重思边界 ——评“水限_陆界：边境与游戏”Francis Alÿs个人展览》

所评展览：水限_陆界：边境与游戏

张亚璇

入围文章：《沿着隔离提供的通路》

所评展览：布鲁塞尔艺术节（Kunstenfestivaldesarts）

IAAC 7

IAAC 7 英文入围名单

（按姓名首字母排序）

Adeline Chia

入围文章：Forked Tongue

所评展览：Primeval Codes

Adrian Gouet Hiriart

入围文章：Oblivions are just things to overcome, after all

所评展览：Gran Sur: Contemporary Art from Chile in the Engel Collection

Ben Eastham

入围文章：The Seventh Continent

所评展览：16th Istanbul Biennial

James Tabbush

入围文章：We Want to Believe

所评展览：The Botanical Mind

Kamayani Sharma

入围文章：Blood and Paper: Zarina and the Currencies of Violence in India

所评展览：Zarina - A Life in Nine Lines

Patrick J. Reed

入围文章：Aw, Phooey! Il Ghirigoro at Pio Pico, Los Angeles

所评展览：Il Ghirigoro

Sophie Haigney

入围文章：This is not an apple,’ or is it? : On Trevor Paglen’s “From ‘Apple’ to Anomaly’"

所评展览：“From ‘Apple’ to Anomaly’"

Tallulah Griffith

入围文章：Breathing Life into: Plants, Archives, and People in Responsive Space

所评展览：Responsive Space

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