【OCAT上海馆 | 展览预告】随波逐流/逆流而动：当代摄影干预
随波逐流/逆流而动：当代摄影干预
艺术家：泰阳·昂洛拉托（Taiyo Onorato）& 尼科·克雷布斯（Nico Krebs）、塞巴斯提安·斯图夫（Sebastian Stumpf）
策展人：弗洛里安·埃布纳（Florian Ebner）、克里斯汀·米勒（Christin Müller）
展览时间：2021年4月17日至6月20日
展览地点：上海市静安区曲阜路9弄下沉庭院 | 多功能空间
展览主办：OCAT上海馆
联合主办：德国对外关系学院、德国驻上海总领事馆文化教育处
特别支持：华侨城（上海）置地有限公司、北京德国文化中心·歌德学院（中国）
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关于展览
OCAT上海馆将于2021年4月17日至6月20日荣幸呈现展览“随波逐流/逆流而动：当代摄影干预”。本展览为德国对外关系学院“当代摄影干预”*系列巡展，由策展人弗洛里安·埃布纳（Florian Ebner）与克里斯汀·米勒（Christin Müller）联合策划。
多少潜能仍蕴藏于我们和摄影之术持续流变的关系中？多少可能仍嵌入在新的视觉传播形态中？纪实摄影如何与干预图像于此共生？或将其概括为——当代艺术摄影存在何种特性？
展览将展出生活在瑞士和德国两地的摄影艺术家——泰阳·昂洛拉托（Taiyo Onorato）& 尼科·克雷布斯（Nico Krebs）和塞巴斯提安·斯图夫（Sebastian Stumpf）的摄影及影像作品。这两组艺术家创作的共通点落于对摄影和动态影像的表演性干预。他们皆以兼具颠覆性和艺术性的方式探索创作工具的极限，用视觉技巧和骗术来制造悬念和幻象。在这过程中，艺术家摒弃现实记录免受任何情景化干预的主张，反其道而行，利用干预装置，对包围我们的图像世界做出精准恳切的回应。与此同时，他们以批判角度切入有关人为构筑的城市和乡野空间成为某种社会政治的形式化表达的思考。我们在此环境中是如何被步步控制和引导的？人类与城市处于何种关系之中？城市结构中被遗忘的空白地带位于何处？艺术干预如何有效介入这些开放地带？
泰阳·昂洛拉托与尼科·克雷布斯，《火》，2014年，16mm影片转为SD DVD格式，6分钟45秒
泰阳·昂洛拉托 & 尼科·克雷布斯以隐秘观察、视觉假象和精巧构造聚焦不同社会的文化特性。“建造柏林”系列是这对艺术家组合基于柏林城市化现实做出的艺术性回应。柏林作为德国首都，在全世界范围内被赋予某种神话色彩，它被想象成一片永恒的荒地，为个人成就和自我实现提供了空间。在他们的作品中，昂洛拉托与克雷布斯将那些空间转化为艺术试验地，借助木板和烟火制造术，创造了近乎完美的视觉假象。通过视觉上的透视法则，这对双人组合的介入成为了都市机体的组成部分。他们在摄影作品中用木结构来扩大现有的建筑群，用这样的轻幽默对其进行扰乱。在《灯》、《烟囱》和《火》这三部影片中，城市的公共设施获得了短暂的独立生命——当路灯闪耀粉红光芒时，废弃的烟囱开始冒烟，建筑燃烧化为废墟——不久便又恢复成原样。这些干预在细节上巧妙地暴露了自己，由此在建构和解构之间，在已造就的现实和尚存未知可能的空间之间摇摆不定。
塞巴斯提安·斯图夫，“住宅”系列，2009年，彩印，48 x 38厘米
塞巴斯提安·斯图夫活跃于摄影机镜头前后。在他的作品中，他以物理干预方式来回应既有的建筑结构。在“住宅”系列摄影作品中，他用自己的在场肉身来标记东京高楼大厦之间依照防火规定所留的几乎无人注意的空隙。“顶峰”系列拍摄于葡萄牙的大西洋海岸，以混凝土的建筑残骸为出发点，将自己的身体作为物理标尺潜入画面中。艺术家在每两个为一组的照片中让自己与海平线构成某种关系，以此来质疑摄影图像的透视法构成。摄影中凝聚的瞬间，到了影像作品《地下车库》和《河流》时，被斯图夫扩展为漫不经心却又出其不意的运动，他也就此开启了对都市公共设施观察的新视角。斯图夫以行动介入来对抗摄像机本身纯粹的验证性凝视，通过在不同地点重复同一个动作，将焦点从城市结构的限制性影响转移到它们的开放性潜力上。
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* 自2016年起，该系列展览中的#1 Viktoria Binschtok 和 #2 Michael Schäfer曾于第比利斯、克拉斯诺亚尔斯克、明斯克、哈尔科夫、阿拉木图、比什凯克、孟买、班加罗尔和金奈多地展出。2019年起，该系列展览中的 #3塞巴斯提安·斯图夫（Sebastian Stumpf）和 #4泰阳·昂洛拉托 & 尼科·克雷布斯（Taiyo Onorato & Nico Krebs）巡至中国，先后于广州、南京和上海展出。
文 / 克里斯汀·米勒
图片由德国对外关系学院提供
本展览系德国对外关系学院巡展
关于艺术家
泰阳·昂洛拉托 & 尼科·克雷布斯
泰阳·昂洛拉托1979年出生于瑞士苏黎世，目前工作、生活于苏黎世。尼科·克雷布斯1979年出生于瑞士温特图尔，目前工作、生活于瑞士奥滕巴赫。昂洛拉托和克雷布斯在瑞士苏黎世艺术与设计学院学习摄影，从2003年开始合作至今。
泰阳·昂洛拉托与尼科·克雷布斯以深入的观察、视觉假象和精巧构造来引人关注不同社会，甚至是不同文明的文化特性，比如他们关于美国的作品《巨大的非真实》和在亚洲创作的《大陆漂移》。他们的摄影和影像装置作品不仅仅展示了真实的都市建筑群，还以小型干预行为重审人类意识投射于建筑群后产生的观念与成见。
近期（部分）个展：
“完美未来”，奇斯+霍克，杜塞尔多夫，德国，2019
“抵抗重力”，金德勒，柏林，德国，2018
近期（部分）群展：
“从A到B”，莫尔斯布罗利奇博物馆，勒沃库森，德国，2020
“相片2020”，墨尔本，澳大利亚，2020
塞巴斯提安·斯图夫
塞巴斯提安·斯图夫1980年生于德国维尔茨堡，在德国莱比锡生活与创作。斯图夫在纽伦堡造型艺术学院学过绘画和实体艺术，在莱比锡视觉艺术学院和法国的里昂国立高等美术学院学过摄影。他获得过众多资助项目，包括洛杉矶的奥罗拉别墅奖学金和德国国家学术基金会的奖学金。
虽然塞巴斯提安·斯图夫的摄影作品以主体身份为拍摄对象，但在不同环境中作为纯粹载体展现的却是身体本身。这样一来，身体对既有语境进行了扰乱和重构，并进一步证实任何未受主体影响的事物是无法被（人们所）感知的，观众就这样被允许停留在行动破坏发生前的最后一刻。
近期（部分）个展：
“12x12 视频艺术”，柏林画廊，柏林，德国，2019
“顶峰”，克莱恩丁斯特画廊，莱比锡，德国，2019
近期（部分）群展：
“渴求”，DG艺术空间，慕尼黑 ，德国，2020
“沙中线”，托马斯·菲舍尔画廊，柏林，德国，2020
关于策展人
弗洛里安·埃布纳
弗洛里安·埃布纳1970年出生于德国雷根斯堡，曾在阿尔勒国家摄影学院学习摄影，之后就读于波鸿鲁尔大学研究艺术史。2017年7月，他开始主管巴黎蓬皮杜艺术中心摄影事务所的工作。此前（自2012年底起），他一直负责富克旺根（Folkwang）博物馆的摄影收藏。在这之前从2009年至2012年，任不伦瑞克摄影博物馆的馆长一职。2015年他成为第56届威尼斯双年展德国馆的策展人。之后于2017年与负责曼海姆、路德维希港和海德堡当代摄影双年展的策展人克里斯汀·米勒（Christin Müller）共同从事策展工作。2000年至2006年，他在莱比锡视觉艺术学院任摄影艺术助理。弗洛里安·埃布纳主要从事现代主义摄影和当代影像创作。
克里斯汀·米勒
克里斯汀·米勒1983年出生于德国莱比锡，是一位自由策展人和作家。她曾在希尔德斯海姆大学攻读文化研究和美学实践。自2014年以来，她一直担任摄影收藏家托马斯·瓦尔特（Thomas Walther）的助理，并在莱比锡大学和汉诺威大学任教。她还为《摄影日报》（Photonews）、《奥地利摄影》（Camera Austria）和《国际艺术论坛》（Kunstforum International）等众多杂志撰稿。2017年，她曾与弗洛里安·埃布纳（Florian Ebner）在曼海姆、路德维希港和海德堡担任当代摄影双年展的艺术总监。受德国对外关系学院（ifa）委托，他们于2015年开始共同策划“随波逐流/逆流而动：当代摄影干预”系列展览。自2019年起，担任Wüstenrot基金会为支持纪实摄影颁发的摄影奖的策展人。
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with/against the flow:
Contemporary Photographic Interventions
Artists: Taiyo Onorato & Nico Krebs, Sebastian Stumpf
Curators: Florian Ebner, Christin Müller
Duration: 17 April to 20 June 2021
Venue: Multifunction | Lane 9, Qufu Road, Jing'an District, Shanghai
Organizer: OCAT Shanghai
Co-organizer: ifa (Institut für Auslandsbeziehungen), Department of Culture and Education of the German Consulate General Shanghai
Special Support: OCT Land (Shanghai) Investment Ltd., Goethe-Institut China
ABOUT THE EXHIBITION
OCAT Shanghai is delighted to present the exhibition with/against the flow: Contemporary Photographic Interventions from April 17 to June 20, 2021. This exhibition is part of a series* on contemporary photographic interventions organized by ifa (Institut für Auslandsbeziehungen) and is co-curated by Florian Ebner and Christin Müller.
What is the potential lurking within our constantly changing relationship with photography? What possibilities are contained in the new formats of visual communication? How can documentary approaches be combined with interventions in the image? Or, to put it in more general terms, what are the characteristic features of contemporary artistic photography?
This exhibition in Shanghai contains photographic and video works by artists Taiyo Onorato & Nico Krebs and Sebastian Stumpf who respectively live in Switzerland and Germany. What links the artists is their performative interventions in photographic and cinematic images. Operating in ways that are both subversive and artistic, in the true sense of the word, Stumpf and Onorato & Krebs explore the limits of the tools they work with, using visual tricks and deceptions to create suspense and illusion. In the process, the artists abandon the idea that a recording of the present should forgo any stage-managed intervention. Instead, the artists use enactments to offer a trenchant response to the world of images that surrounds us. At the same time, they turn a critical eye on constructed urban space and landscape as a formalized expression of social politics. How is our movement in this environment controlled and directed? How do humans relate to the realities of the city? Where are the forgotten voids and lacunae in the urban fabric? How can artistic interventions make productive use of open spaces?
Taiyo Onorato & Nico Krebs, Constructions (Building Berlin) - Marzahn 1, 2009, gelatin silver prints
Taiyo Onorato & Nico Krebs’s cryptic observations, optical illusions, and subtle constructions spotlight the cultural quirks of different societies. The group of works Constructions (Building Berlin) is the artist duo’s take on Berlin’s urbanistic realities. A certain mythology clings to the German capital on the global stage, where it is imagined as an eternal wasteland offering space for individual fulfillment and self-actualization. For their work, Onorato & Krebs seek out empty spaces and use them as a site for artistic experimentation, creating near-perfect optical illusions with the help of pyrotechnics and strips of wood. Their interventions exploit the optical laws of perspective to become part of the urban fabric. The photographs extend the existing ensemble of buildings with wooden constructions, undercutting them with quiet humor. In the three films Lamp, Chimney, and Fire, the street furniture takes on a brief life of its own – when a pink light shines from a street lamp, a defunct chimney begins to smoke, or a building burns down – before reverting to its habitual guise. The details of these interventions skillfully reveal the truth of them, so that they oscillate between construction and deconstruction – between built reality and a realm of possibility.
Sebastian Stumpf, Underground Garages, video still, 2008, video projection, sound, 12:48 min.
Sebastian Stumpf is active both in front of and behind the camera, as performer and operator. In his works he responds to the architectural configurations he finds with precise physical interventions. In the photographs in Sukima, he uses his physical presence to highlight the nondescript gaps between high-rise buildings in Tokyo that are stipulated by fire safety regulations. The Zenith series was made on the Atlantic coast of Portugal, where Stumpf took as his starting point the concreted remnants of buildings, inserting his body into the image as a physical yardstick. In each case, the artist takes a pair of photographs, positioning himself in a particular relationship with the horizon and thus questioning the perspectival construct of the photographic image. In his video works Underground Garages and River, Stumpf extends the photograph’s frozen moment with adventitious, unexpected movements, providing new angles on urban furniture. Stumpf thus offers up action as posture as a counter to the purely verifying gaze of the camera. By repeating the same movements in a variety of different places, he shifts the focus from the limiting impact of urban structures to their open potential.
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* The series began its world tour with the artists #1 Viktoria Binschtok #2 Michael Schäfer in 2016 in Tbilisi and has been shown in Krasnojarsk, Minsk, Charkiw, Almaty, Bischkek, Mumbai, Bangalore and Chennai. With the artists #3 Sebastian Stumpf #4 Taiyo Onorato & Nico Krebs the series continues its tour in 2020-2021 to China, in Guangzhou, Nanjing, and Shanghai.
Text by Christin Müller
Image courtesy of ifa (Institut für Auslandsbeziehungen), Stuttgart, Germany
Touring exhibition of ifa (Institut für Auslandsbeziehungen)
ABOUT THE ARTISTS
Taiyo Onorato & Nico Krebs
Switzerland and Nico Krebs (born 1979 in Winterthur, Switzerland) lives in Ottenbach, Switzerland. Onorato & Krebs studied photography at the Zurich School of Art and Design, Switzerland and have been working together since 2003.
With profound observations, optical illusions and subtle constructions, Taiyo Onorato & Nico Krebs draw our attention to cultural idiosyncrasies in various societies — or even civilizations, as in their work on the USA, The Great Unreal and in Continental Drift which they developed in Asia. Their photographs and film installations do not just show real urban ensembles, but use small interventions to reflect on our own ideas and clichés that we project onto them.
Selected Solo Exhibitions
Future Perfect, Sies + Höke, Düsseldorf, Germany, 2019
Defying Gravity, Kindl, Berlin, Germany, 2018
Selected Group Exhibitions
From A to B, Museum Morsbroich, Leverkusen, Germany, 2020
Photo 2020, Melbourne, Australia, 2020
Sebastian Stumpf
Sebastian Stumpf (born 1980 in Würzburg, Germany), lives and works in Leipzig, Germany. Stumpf studied painting, drawing and object art at the Academy of Fine Arts Nuremberg, Germany and photography at the Academy of Visual Arts Leipzig and the École Nationale Superieure des Beaux-Arts de Lyon, France. He has been a recipient of multiple grants including a Fellowship of Villa Aurora, Los Angeles and a grant from the German National Academic Foundation.
Though the physical protagonist of Sebastian Stumpf’s photography is the artist himself, the body that is presented within various environments is pure agency. As such, this body disrupts and re-contextualizes the existing context illustrating the impossibility of perceiving anything that is devoid of the subject’s influence. The audience is thus allowed to linger on the final moment before the action-disruption takes place.
Selected Solo Exhibitions
12x12 Video Art, Berlinische Galerie, Berlin, Germany, 2019
Zenit, Galerie Kleindienst, Leipzig, Germany, 2019
Selected Group Exhibitions
Sehnsucht, DG Kunstraum, Munich, Germany, 2020
Line in the Sand, Galerie Thomas Fischer, Berlin, Germany, 2020
ABOUT THE CURATORS
Florian Ebner
Florian Ebner, born in Regensburg in 1970, studied photography at the École Nationale de la Photographie in Arles, and art history at the Ruhr-University Bochum. Since 2017 he has been director of the Cabinet de la photographie in the Centre Pompidou, Paris. Prior to this he was (from the end of 2012) responsible for the photographic collection at the Museum Folkwang, and from 2009 to 2012 director of the Museum for Photography in Braunschweig. He was curator of the German Pavilion at the 56th Venice Biennale in 2015, and in 2017, together with Christin Müller, curator responsible for the Biennial for Contemporary Photography in Mannheim, Ludwigshafen and Heidelberg. From 2000 to 2006 he was artistic assistant for photography at the Academy of Fine Arts (HGB) in Leipzig. Florian Ebner works on modern photography and the contemporary image.
Christin Müller
Christin Müller, born in Leipzig in 1983, is a freelance curator and author and has a degree in cultural studies and aesthetic practice from University of Hildesheim. Since 2014 she has worked as assistant for the Thomas Walther photography collection and has had lectureships at Leipzig University and Hannover University. Among other magazines, she writes for Photonews, Camera Austria and Kunstforum International. In 2017, with Florian Ebner, she was artistic director of the Biennial for Contemporary Photography in Mannheim, Ludwigshafen and Heidelberg. Since 2015 they have been co-curating the exhibition series with/against the flow: Contemporary Photographic Interventions. Since 2019 she has been curator in charge of the Wüstenrot Stiftung’s award in support of young artistic documentary photography.
关于OCAT上海馆
参观时间 | Admission Hour
10:00-18:00 周二至周日（周一闭馆）
最后入场时间：17:30
10:00-18:00 from Tuesday to Sunday (Closed on Mondays)
Last Entry 17:30
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Tel: 021-66085180
Email: ocatshanghai@ocat.org.cn
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地址 | Address:
上海市静安区曲阜路9弄下沉庭院，负一层（轨道交通8号线、12号线曲阜路站）
-1F Sunken Garden, Lane 9, Qufu Road, Shanghai (MTR Line 8 & 12 Qufu Road Station)