【OCAT 上海馆 | 展览预告】何人说梦：来自挪威的当代艺术
何人说梦： 来自挪威的当代艺术
I Hear Your Dreams:
Contemporary Art from Norway
(Please scroll down for English version)
策展人：姜节泓
参展艺术家：A K 窦文、伊格纳斯·克鲁格勒维修斯、卡米尔·诺门、雅娜·文德伦、托瑞·罗纳斯
展览时间：2019年7月7日——9月8日
展览地点：OCAT上海馆，上海市静安区文安路30号
展览主办：OCAT上海馆
展览协办：华侨城（上海）置地有限公司
特别支持：挪威王国驻北京大使馆、挪威王国驻上海领事馆、挪威当代艺术协会（OCA）、上海市对外文化交流协会（SICA）
开幕流程：
2019年7月7日
15:00-16:30 开幕论坛
16:30-17:00 新闻发布会暨开幕式
17:00-17:30 策展人、艺术家导览
关于展览
OCAT上海馆将于2019年7月7日至9月8日荣幸呈现来自挪威的当代艺术群展“何人说梦”。本次展览由姜节泓策划，邀请到活跃在国际舞台并领衔挪威当代艺术界的五位艺术家：A K·窦文（Anne Katrine Dolven）、伊格纳斯·克鲁格勒维修斯（Ignas Krunglevičius）、卡米尔·诺门（Camille Norment）、雅娜·文德伦（Jana Winderen）和托瑞·罗纳斯（Tori Wrånes）。为期两年的策展研究使得策展人姜节泓进一步地走进挪威当代艺术。在走访了二十余名优秀的挪威当代艺术家工作室后，展览的叙事思路逐渐浮现，渐至清晰。建构在此叙事基础上，策展人最终选出了以上五位艺术家及七件作品。在多变的创作意图与丰富的创作语言外，这五位艺术家在媒介选择上也分享了一定共性，最终呈现在展览中的故事将以声音和时间为载物，围绕梦境、潜意识与记忆铺陈开来。
“未入睡者共同拥有着他们的世界，而入睡者却各自拥有了一个自我的世界。”
——赫拉克利特［古希腊］
何以释梦？对于“梦”的理解、想象与诠释绵延在人类发展的漫长历史中，并在东西方宗教、文化、哲学的发展中经历着不同身份的转变：从西方中世纪的神谕式形象到中古佛教文化下的虚幻悲观之物再到中国古代道教影响下的重建自我与现实 。然而当跳脱历史文化的语境，去直视“梦”的存在，我们会发现其最大的特性莫过于“超越了时间和空间”（摘自哲罗姆），在现实世界之外无形而生的另一个宇宙，入梦者们便是赫拉克利特口中此宇宙中所发生之事的劳作者和协同制造者，艺术家们自然也并行其中。
“当一个作家把他的戏剧奉献给我们，或者把我们认为是他个人的白日梦告诉我们时，我们就会感到极大的快乐。”
——西格蒙德·弗洛伊德［奥］
本次展览作品分布在A、B双厅，从B厅行入步至A K·窦文于2016年创作的作品《一个另类年轻人（A Other Teenager）》——十六米长的画面被二十余名交叠的入梦者所占据，身着紫衣的女孩塔尔（Tale）与其余的入梦者反向而卧，所有入梦者连同女孩呈现出潜意识状态下的静止和运动，然而无人知晓他们为何进入潜意识，也无人试图揭开他们梦境的一角。即兴电子吉他声的嘈杂与混乱打破了原本祥和与神圣的视觉画面，观者无意识地退离有序的有形世界，沉浸在他者之梦中；托瑞·罗纳斯（Tori Wrånes）的作品《古老婴孩（Ancient Baby）》同样为观者提供了一个可以沉浸在非时间场景的不规则空间。五个身着奇装的生灵飘荡在展厅的空间中，他（她）们不明性别、年龄、身份甚至来处，用吟唱和吹奏带走现实中的重重思绪。借用策展人所感：“在此，时间再也不是准确的丈量，并相去甚远。”
“那些最真实的东西，恰恰是我在画中制造的幻觉。”
——欧仁·德拉克洛瓦［法］
A厅入口处将邂逅卡米尔·诺门（Camille Norment）的作品《说梦之灯（Triplight）》。受当代音乐中“故障”概念的启发，从舒尔麦克风里发出的光线间歇性地闪烁。如幻觉中所视的摇曳灯光伴随着投射的骨架阴影试图诉说着这个时代的现实遭遇与困境；伊格纳斯·克鲁格勒维修斯（Ignas Krunglevičius）在A厅呈现了两件作品《噪音比率（Signal to Noise Ratio）》与《健体交易（Hard Body Trade）》。前者以钢材装置的视觉形态呈现，观者被邀请进入巨大的金属走廊，徘徊在机械性重复的声场中；后者则通过看似仿像的真实世界画面和电脑合成的说明叙述，将观者带离关于人的梦境，转向进入机器的梦游状态。再至雅娜·文德伦（Jana Winderen）为此次展览所作的《31°14’37”N 121°28’2”E》，步入如海底般昏暗的空间中，直立于现实空间的经纬度之上，观者会进入到完全纯粹的声音世界中，听见生活在脆弱生态系统中的海豹、鳕鱼、虎鲸、座头鲸发出微弱的呼叫。到这里，你还在梦里吗？还是从梦里你已经看到了现实世界的一角？引自梅特林克：“每个梦都是这永恒当下的某些情景或事端的部分意识，这些事可能是过去的，现在的，或未来的。”
本次展览作为挪威当代艺术在中国的首展，将献礼中挪建交65周年（1954-2019）。在此特别鸣谢挪威王国驻北京大使馆、挪威王国驻上海领事馆、挪威当代艺术协会以及上海市对外文化交流协会对本次展览的鼎力支持。
OCAT上海馆
关于策展人
姜节泓
Jiang Jiehong
姜节泓教授任英国伯明翰城市大学艺术学院研究总监，中国视觉艺术中心主任，英国学术刊物《中国当代艺术研究》（Intellect）主编。姜节泓一直专注于当代艺术和视觉文化的研究。近年主要策划的当代艺术展览包括第四届广州三年展主题展“见所未见”（2012），第三届曼彻斯特亚洲三年展主题展“天下无事”（2014），“真实的假像”（上海民生美术馆，2016），“遥不可知：英国当代艺术展”（上海OCAT，2016）以及首届泰国双年展“仙境的边缘”（甲米，2018-19）。他的书著包括《负担或遗赠》（2007）、《革命在继续：来自中国的新艺术》（2008）、《红》（2010），以及《没有记忆的时代：城市变迁中的中国当代摄影》（2015）。
关于艺术家
A K 窦文
Anne Katrine Dolven
A K·窦文，1953年出生于挪威奥斯陆，现工作、生活于挪威的奥斯陆和罗弗敦。她的实践游刃于宏观与微观、普遍性与私密性之间，交织的概念与结构超越了单一的特定作品的局限。人际沟通和互动在窦文的作品中占据核心地位，她的很多基于现场表演的作品都涉及到与他人的合作。窦文的作品在全世界诸多艺术机构和画廊中广泛展出，并部分被永久收藏于以下公共和私人收藏系列：芝加哥艺术博物馆、费城艺术博物馆、丹麦路易斯安娜现代艺术博物馆、霍夫曼收藏、德国格茨收藏馆。
伊格纳斯·克鲁格勒维修斯
Ignas Krunglevičius
伊格纳斯·克鲁格勒维修斯，1979出生于立陶宛考纳斯，现工作、生活于挪威奥斯陆。他的装置、影像和雕塑作品通常结合声音和文本材料，以探索由全球技术发展所产生的权利、经济、自然和存在的现实之间的复杂关系。自2001年以来，克鲁格勒维修斯已在诸多美术馆及艺术机构举办个展和参与群展。他曾于2009年参展第26届卡塞尔纪录片和影像艺术节，并荣获特别提及奖；此外，他还在奥斯陆艺术协会的挪威DNB NOR银行集团赞助展中获得大奖。2010年，克鲁格勒维修斯被提名白南准奖。他近期受邀在诸多国际艺术展会展出作品，包括：爱知三年展，名古屋，日本（2016）；费城当代艺术中心，美国（2017）；第6届莫斯科国际青年艺术家双年展（2018）；白南准艺术中心，韩国（2018）。
卡米尔·诺门
Camille Norment
卡米尔·诺门，1970年出生并接受教育于美国，现工作、生活于挪威奥斯陆。她的作品以文化及心理声学的概念作为美学和观念框架。在她看来，这是通过声音和音乐——特别是杂音和社会失调的现象——来对社会文化现象进行研究，并借由声音作用于身体、心灵和社会。近期，诺门曾代表挪威参加第56届威尼斯双年展（2015）；她和坂本龙一合作的表演作品在纽约（2018）和日本（2017）演出；她受委托和钢琴手克莱格·泰朋（Craig Taborn）合作的作品在沃克艺术中心（2019）及纽约军械所艺博会呈现。诺门目前正在创作受惠特尼美国艺术博物馆、迪亚艺术基金会委托的作品。
雅娜·文德伦
Jana Winderen
雅娜·文德伦，1965年出生于挪威博德，现工作、生活于挪威奥斯陆。她的创作聚焦于人类难以进入的声觉环境和生态系统——无论是在物理上还是在听觉上，比如水下深处、冰里或者人类无法听到的频率范围。她创作的沉浸式多声道声音装置和现场声音作品已在全世界诸多艺术机构和公共空间展出和表演。文德伦近期的作品包括：《隔骨传音：与鲤鱼一起聆听》，乌镇当代艺术邀请展；《在冰区边缘的春天里绽放的声音表演》，阿姆斯特丹；《bára》，由TBA21研究院委托，在展览“海洋”中展出；《对Tidalectic世界观的想象》，杜布罗夫尼克现代艺术博物馆（2018）、Le Fresnoy法国国立当代艺术中心（2018）、英国奥格腾 Tidalectics。2011年，文德伦荣获电子艺术大奖之金尼卡奖。她的声音视觉作品在Touch（英国）上发布。
托瑞·罗纳斯
Tori Wrånes
托瑞·罗纳斯，1978年出生于挪威克里斯蒂安桑，现工作、生活于挪威奥斯陆。罗纳斯是一位声乐家和艺术家，她的艺术实践涉及诸多媒介，包括行为表演、雕塑、影像和装置。她使用声音、乐器、服装、道具、建筑和雕塑来改变她的外表，创造着全新的仪式和梦幻般的作品系列。我们可以将她的作品恰如其分地描绘为是声音的编舞——有时是独奏，有时包含多个表演者，比如自行车上的歌剧演员、缆车上的音乐家、或是一块唱歌的石头。最近，罗纳斯正忙于发展她自己的挑衅技巧——一种基于节奏和情绪的即兴的、非语言的“语言”。
关于OCAT上海馆
OCAT上海馆是全国第一家专注于媒体艺术与建筑的专业非营利艺术机构，位于上海市静安区苏河湾，艺术家张培力先生担任执行馆长。OCAT上海馆通过展览、学术研究、交流、教育、出版和国际艺术家工作室交流等项目，致力成为具有前瞻性和社会触觉的，活跃、互动、开放的艺术机构。
作为OCAT馆群的首家深圳区外分馆，OCAT上海馆于2012年9月29日正式成立，开馆至今已举办一系列有影响力的学术性展览。OCAT上海馆所处四层欧式建筑，前身为中华实业银行货栈，始建于二十世纪三十年代，是上海优秀历史保护建筑，距今逾八十年。现有展览空间约1600平方米，分布于A、B展厅中，展厅内保留了建筑原有的肌理和结构。
I Hear Your Dreams:
Contemporary Art from Norway
Curator: Jiang Jiehong
Artists: A K Dolven, Ignas Krunglevičius, Camille Norment, Jana Winderen, Tori Wrånes
Exhibition Duration: July 7, 2019 to September 8, 2019
Venue: OCAT Shanghai, 30 Wen' an Road, Jing' an District, Shanghai
Organizer: OCAT Shanghai
Co-Organizer: OCT & SUHE CREEK
Special support: Royal Norwegian Embassy in Beijing, Consulate General of Royal Norwegian in Shanghai, OCA, and SICA
Schedule:
July 7, 2019
3:00-4:30pm Opening Forum
4:30-5:00pm News Conference and Opening Ceremony
5:00-5:30pm Curator & Artists' Tour
About The Exhibition
OCAT Shanghai is delighted to present "I hear your dreams", a group exhibition of Norwegian contemporary art, on view from July 7th to September 8, 2019. Curated by Jiang Jiehong, the exhibition invites five leading contemporary Norwegian artists who are actively engaged on the international stage including, Anne Katrine Dolven, Ignas Krunglevičius, Camille Norment, Jana Winderen, and Tori Wrånes. Over two years of curatorial research allows the curator Jiang Jiehong to further engage with contemporary Norwegian art. Having visited more than 20 outstanding artists studios, a line of thought for the narration of this exhibition emerged and became apparent gradually. Grounded on this narrative, the curator has eventually selected five artists and among them, seven works of art for this exhibition. Varying in artistic impetus and diversifying in creative language, these five artists share a certain commonality in the medium they adopt. The story that brings these artists' works together takes sound and time as its conduit and revolves around dreams, subconscious and memories.
Those who are awake all live in the same world. Those who are asleep live in their own worlds.
- Heraclitus (Ancient Greek)
How do we interpret dreams? The conception, imagination, and annotation of "dreams" are stretched out extensively throughout the long history of the human civilization while they have undergone ongoing transformations in the development of religion, culture, and philosophy of the East and West. Namely, from the mid-century image of the oracle in the West, to the visceral pessimistic objects in ancient Buddhist culture, to the reconstruction of self and reality under the influence of traditional Chinese Daoism. However, if we were to step out of the historical and cultural contexts, we would discover that the existence of "dreams" is marked by its "transcendence of time and space" (in reference to St. Jerome). It's an alternative universe that exists without forms and beyond the world of reality. The dreamers hence would be the laborers and collaborative makers of events in Heraclitus' universe, and of course, the artists are among them.
When a writer presents us his drama, or conceives us as his personal daydream and tells us so, we would feel great bliss.
- Sigmund Freud (Austrian)
The works of this exhibition are shown in both exhibition halls A and B. Stepping into Hall B, one finds A.K. Dolven’s A Other Teenager, a 16 meters long video occupied by more than 20 overlapping dreamers in which a girl dressed in purple, Tale, sleeps in the opposite direction of the others. Meanwhile, all the dreamers, including Tale, stay still or move about in their subconscious. It's neither apparent how they have entered this state of being, nor does it seem necessary to intervene in their dreams. The cacophonous sound from the guitar played impromptu interrupts the formally harmonious and sacred visual image, the viewer subconsciously resigns from an orderly and formal world and immerses in the dreams of others’. Tori Wrånes’ work Ancient Baby also provides the viewer with an irregular space in a timeless scene. Five babies dressed in otherworldly attires float in the exhibition space, their genders, age, identity, or even origin is unknown. Their singing and playing of musical instruments take away the various thoughts from reality. Using the curator's impression, "Here, time is no longer an accurate measurement, and far from it.”
The most real things, are often the illusions I have created in my paintings.
- Eugène Delacroix (French)
At the entrance of Hall A, one finds Camille Norment’s Triplight. Inspired by the notion of “glitches” in contemporary music, the light flickers intermittently from the Shure Microphone. The glowing light and skeletal shadow tell the social realities and contradictions of its time; Ignas Krunglevičius presents two works in this space, Signal to Noise Ratio and Hard Body Trade. The former presents a metal structure serving as a giant corridor in which the viewers can wander in a soundscape of mechanical repetitions; the latter adopt seemingly simulations of the real world imageries and digitally generated narratives to take the viewer away from human dreamscapes, so that they would enter the dreams of the machines. Jana Winderen’s 31°14’37”N 121°28’2”E, created for this exhibition, takes the viewer into the dark places at the bottom of the ocean. As one stands on this cross point of latitude and longitude, one enters into a world of pure sound and listens to the subtle wailing of seals, codfish, killer whales and humpback whales in an endangered eco-system. At this point, are you still in a dream? Or have you grasped a glimpse of the real world from this oneiric experience? In Maurice Maeterlinck’s words, “Every dream encapsulates partial conscience of certain scene or event of this eternal present, these things can be about the past, present or future.”
This exhibition marks the first presentation of contemporary Norwegian art in China, on the occasion of the 65th Anniversary of the establishment of Sino-Norway diplomatic relations. Hereby, we extend our gratitude for the support from Royal Norwegian Embassy in Beijing, Consulate General of Royal Norwegian in Shanghai, OCA, and SICA.
OCAT Shanghai
About Curator
Jiang Jiehong
Professor Jiang Jiehong is Head of Research at School of Art, Director of the Centre for Chinese Visual Arts, Birmingham City University, and he is also Principal Editor of the Journal of Contemporary Chinese Art (Intellect). Jiang has extensive research and curatorial experience in contemporary art and visual culture. Jiang curated the Guangzhou Triennial: the Unseen (with Jonathan Watkins, 2012), the Asia Triennial Manchester: Harmonious Society (2014), the Shadow Never Lies (with Mark Nash, Shanghai Minsheng Art Museum, 2016), the Distant Unknown: Contemporary Art from Britain (OCAT Shanghai, 2016) and most recently, the First Thailand Biennale: Edge of the Wonderland (Krabi, 2018-19). Jiang’s book publications include Burden or Legacy: from the Chinese Cultural Revolution to Contemporary Art (Hong Kong University Press, 2007), the Revolution Continues: New Art from China (Jonathan Cape, 2008), Red: China’s Cultural Revolution (Jonathan Cape, 2010) and An Era without Memory: Chinese Contemporary Photography on Urban Transformation (Thames and Hudson, 2015).
About Artists
Anne Katrine Dolven
A K Dolven (b. 1953, Oslo, Norway) currently lives and works in Oslo and Lofoten, Norway. Her work alternates between the monumental and the minimal, the universal and the intimate, resonating with concepts and structures beyond the confines of any particular piece. Interpersonal relations and interactions are central to her practice, and many of her performance-based works involve collaborations with other people. Dolven has exhibited extensively internationally at a wide range of institutions and galleries, and her work is included in over thirty international private and public collections, including the Art Institute of Chicago, the Philadelphia Museum of Art, Louisiana Museum of Modern Art in Denmark, the Hoffmann Collection and Sammlung Goetz in Germany.
Ignas Krunglevičius
Ignas Krunglevičius (b. 1979, Kaunas, Lithuania) currently lives and works in Oslo. His installations, videos, and sculpture often combine sound, and text, where he explores the intermix between the agency of power, economy, nature and existential realities generated by global technological development. Since 2001, Krunglevičius has exhibited in numerous solo and group exhibitions. In 2009, Krunglevičius participated in the 26th Kassel Documentary Film and Video Art Festival, where he received a Special Mention Prize, and also at the DnB NOR stipend exhibition in Oslo Kunstforening, where he was awarded the main prize. In 2010 he was nominated for the Nam June Paik Award. Recently, he has been invited to participate in many major international art venues, such as Aichi Triennale (2016) in Nagoya, Japan, ICA Philadelphia in USA (2017), the 6th Moscow International Biennale for Young Artists (2018), Nam June Paik Art Center in South Korea (2018).
Camille Norment
Camille Norment (b. 1970, Maryland, USA) was educated in the US before relocating to Oslo, Norway, where she now lives and works. Norment’s work utilises the notion of cultural psychoacoustics as both an aesthetic and conceptual framework. She defines this term as the investigation of socio-cultural phenomena through sound and music - particularly instances of sonic and social dissonance, and works through sound as a force over the body, mind, and society. Norment’s recent highlights include representing Norway in the 56th Venice Biennial of Art (2015), performances with Ryuichi Sakamoto in New York (2018) and Japan (2017) and New York (2018), commissioned performance with pianist Craig Taborn at the Walker Art Center (2019) and the Armory in New York (2016). Norment is currently producing commissions for the Whitney Museum of American Art, and the Dia: Art Foundation.
Jana Winderen
Jana Winderen (b. 1965, Bodø, Norway) currently lives and works in Oslo, Norway. She focuses on audio environments and ecosystems which are hard for humans to access, both physically and aurally, deep under water, inside ice or in frequency areas inaudible for humans. Amongst her activities are immersive multi-channel sound installations and concerts which have been exhibited and performed internationally in major institutions and public spaces. Recent work included Listening with Carp for Now is the Time, Wuzhen, Spring Bloom in the Marginal Ice Zone for Sonic Acts in Amsterdam, bára, a commission for TBA21 Academy, shown at the exhibition OCEANS. Imagining a Tidalectic Worldview, Dubrovnik Museum of Modern Art (2018), at Le Fresnoy, France (2018), and in Tidalectics at Augarten (UK). In 2011 she won the Golden Nica, Ars Electronica, for Digital Musics & Sound Art. She releases her audio visual work on Touch (UK).
Tori Wrånes
Tori Wrånes (b. 1978, Kristiansund, Norway), currently lives and works in Oslo, Norway. Wrånes is a vocalist and artist and has a trans-medial artistic practice, which unfolds as performance, sculptures, videos or installations. Her use of sounds, musical instruments, costumes, props, architecture, and sculptures deforms her appearance and creates new rituals and dreamlike constellations. Choreography with sound might be a good way to describe her work, be it solo or with multiple performers, like opera-singers on bikes, musicians in a chairlift, or a singing rock. Lately, Wrånes has been occupied with developing her own Troll-technique; an improvised, non-verbal, language based on rhythm and temperament.
About OCAT Shanghai
OCT Contemporary Art Terminal (OCAT) Shanghai is the first non-profit art institution focusing on media art and architectural design in China, located in the Suzhou Creek area of Jing’an district, Shanghai. OCAT Shanghai aims to become an influential, socially aware and interactive art institution with exhibitions, research, communication, education, publishing and international artist residencies. Artist Zhang Peili is the current executive director of OCAT Shanghai.
As the first branch of OCT Contemporary Art Terminals, OCAT Shanghai was inaugurated on 29 September 2012, since then it has already organized a series of influential exhibitions. OCAT Shanghai is hosted in a four-storied, European style building from the 1930s, which formerly served as the China Industrial Bank Depot. It has 1600 square meters of exhibition space, divided into exhibition hall A and B, retaining the original texture and structure of the building.