【OCAT上海馆 | 新展介绍】朴庆根&奥利弗·拉瑞克双个展
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朴庆根个展：
当老虎还在抽烟的时代
韩国艺术家朴庆根在OCAT上海馆的展览“当老虎还在抽烟的时代”¹ 将围绕自我的形塑展开，带领观者在不断反思、推倒和重建的过程中，一同探索“自我”与“他者”彼此缠绕的关系，亦展开对现代人自我认知焦虑和身份议题的多角度探讨。
朴庆根，《天国的阶梯》（静帧），2016年，现场表演高清录像，30分（彩色，有声），图片致谢艺术家及Vanguard画廊
展览将展出朴庆根数件重要的影像及装置作品。进入展厅首先会看到的是朴庆根的全新创作“动·物”系列（2021）。这一系列作品试图通过对动物的观察和想像过程来拆解自我认知的形塑过程，以及重新审视人类在自然界的定位。他利用那种用以判定颜色信息的波形信号，让拍摄到的猛兽的身体色彩和亮度不断在XY轴上下波动，使观者看到分解的、流动的，甚至错位的行动生命体，从而返身代入对人类自身的重新想像。作品《天国的阶梯》（2016）转而回到人类社会的语境，从更私人的角度，探索个人与他者、集体的关系如何受到社会体系、传统、流行文化等等的影响以及这种影响的内化和自我的迷失。早年的重要作品《清溪川的杂音》（2010）和《1.6秒》（2016）则从不同角度想象着人与工业生产的关系。前者通过展现韩国工商业聚集地，即首尔清溪川一带的日常居民生活，委婉地剖析出韩国近现代工业的发展，重新审视现代化进程中人们对工业所代表着的集体性的宏大事业的崇拜。后者则由高度机械化工厂流水线为主体，想象人与机器之间的彼此观看和人在现代化生产生活环境中的自我定位。
朴庆根，《清溪川的杂音》（静帧），2010年，五通道标清录像，14分48秒，15分39秒，21分钟，18分24秒，13分49秒（彩色，黑白，有声），图片致谢艺术家及Vanguard画廊
从钢铁丛林里的诸多议题，到看似更为单纯的对动物的视觉异化呈现，朴庆根始终在从各种角度和方式，向观者，更向自己反复追问人性最为本质的问题：我如何成为我？我真的有主体意识吗？
策展人 王慰慰
¹ 展览标题“当老虎还在抽烟的时代（호랑이 담배 피던 시절）”引自于韩国民间故事，意指很久很久以前。
关于艺术家
朴庆根（Kelvin Kyung Kun Park），1978年生于韩国首尔，现生活、工作于首尔。朴庆根的创作以影像，摄影和装置为主。他创作于2010年的首部长片《清溪川的杂音》曾入选柏林电影节、釜山国际电影节、华沙国际电影节、洛杉矶电影节、HOT DOCS加拿大国际纪录片电影节，并大受好评。他的影像装置曾在首尔一民美术馆、大邱美术馆、Arko艺术中心，Opsis画廊和2012年台北双年展等多地展出。继其处女作《铁梦》在柏林电影节上获得NETPAC奖后，这部主要拍摄釜山钢铁公司和现代造船厂场景的影片又再次放映于纽约现代艺术博物馆和沙迦双年展。
关于策展人
王慰慰，现为六厂纺织文化艺术馆的策展人。她于2010至2017年间任职上海当代艺术馆策展人。2017年，王慰慰参与台湾关渡美术馆的驻馆策展人计划，同年参与韩国国立现代美术馆国际研究员项目。2018年获选为第十二届上海双年展联合策展人，同年取得亚洲文化协会个人研究计划奖助金，于2019年展开关于东亚当代艺术的一系列调研。
奥利弗·拉瑞克个展：
外骨骼
展览“外骨骼”是奥地利艺术家奥利弗·拉瑞克（Oliver Laric）在中国的首次机构个展，并将首次呈现艺术家在2014年至2021年里创作完成的动画影像三部曲。这三部影片的渐进过程，也同样可以被理解为动漫文化及其技术手段和可能性在一个更宏观框架中的衰落。伴随影片一同展出的是五件雕塑作品，由艺术家对博物馆馆藏雕塑进行3D扫描及摄影测量而创作，强调了拉瑞克一直以来的创作理念，即所谓的“新”通常有关于既存事物的延续过程。
奥利弗·拉瑞克，《山羊与人》，2022年，SLS尼龙，SLA树脂，油漆，铝制底座，32 × 162 × 93厘米，图片致谢艺术家及Tanya Leighton、Pedro Cera、Widauer 画廊
自2013年开始创作这一类型作品以来，拉瑞克已经发展出大约20种雕塑形式，本次展览所展出的五件雕塑作品也来自于其中。自2012年以来，这些模型都可以在拉瑞克的个人网站 ² 上免费下载。其所使用的雕塑原型一直被认为是开放和可编辑的源材料，将欧洲自然主义雕塑与古埃及、希腊或罗马的范式联系起来。通过强调每件雕塑的临时状态，拉瑞克亦将他对各种意识观念和社会系统的兴趣都容纳其中。这些雕塑形式共同构建出一种语汇，使艺术家不仅得以质疑雕塑作为稳固的事物这一概念，更强调了变化和流动作为全球性跨文化实践运作的永恒驱动力如何逆流于自然和文化之间的边界。
奥利弗·拉瑞克，《未命名》（静帧），2021年，单通道录像，4分（黑白，有声），图片致谢艺术家及Tanya Leighton、Pedro Cera、Widauer 画廊
展览标题“外骨骼”指涉了拉瑞克的雕塑制作中所涉及的从表面出发的扫描过程，是作为雕塑一部分的盔甲的外壳结构，以及在其影像作品中反复出现的昆虫或动物的保护壳。“外骨骼”在哲学意义上代表着内部与外部、生与死之间的门槛，亦在另一个层面上隐喻形式与内容之间的边界。因此，这个词也指向了展览本身的制作过程，它强调了变化和流动的概念，以颠覆由人类定义的区别，如自然和文化。最终，展览发展出其特定的外部与内部形式，经由一个合作产生的“外骨骼”抵达其终点。
策展人 马丁·格尔曼
² 奥利弗·拉瑞克的个人网站（https://threedscans.com）上所有的3D数字模型可供用户免费下载和使用，并不受版权限制。
关于艺术家
奥利弗·拉瑞克（Oliver Laric），1981出生于奥地利因斯布鲁克，拉瑞克是当今非常活跃的新媒体艺术家。他的创作往往模糊了“原创品”和“复制品”，“数字”和“现实”的边界。自2008年起，他开始对美术馆内收藏品进行3D扫描，使它们能被更多观众所接触到，且不受版权限制。他将这些扫描下来的复制品上传到他的个人网站threedscans.com，从文艺复兴具象雕塑，到吴哥窟的浅浮雕，数量多达一百个，且都能被访问者不受限制地下载，或在其基础上创作出他们新的版本的作品。他的艺术实践处理了关于图像是如何在若干可能的版本或重复中被占用、解读、转译和再循环的问题。
他的作品在全世界诸多艺术机构和画廊中广泛展出，包括纽约新美术馆、米兰普拉达基金会、维也纳SECESSION美术馆、特拉维夫当代艺术中心、卡塞尔弗里德里希美术馆、巴黎的东京宫当代艺术中心等；且部分被永久收藏于以下公共和私人收藏系列：克利夫兰艺术博物馆、明尼阿波利斯沃克艺术中心、柏林豪布洛克收藏中心。
关于策展人
马丁·格尔曼（Martin Germann），1974年出生于德国赫德克，是一位作家和策展人，目前工作、生活于德国科隆。2021年10月，他被东京森美术馆任命为兼职策展人。同时，他担任了2022年爱知三年展的策展顾问一职。2012-2019年，他作为资深策展人任职于比利时根特市当代艺术博物馆，并在此其间策划了众多的群展和收藏展，并推动了美术馆重大收藏。
在他职业生涯早期，他曾担任汉诺威Kestner Gesellschaft的策展人（2008-2012）。在此之前，他曾参与第三届柏林当代艺术双年展工作（2003-2004），并为第四届柏林当代艺术双年展策划“高古轩画廊，柏林”项目（2005-2006）。他出版了诸本展览目录和专著，其文章散见于032C、Frieze及Mousse等杂志。同时，他也是布鲁塞尔“Etablissement d'en Face”和I-AC Villeurbanne收藏委员会的董事会成员。他策划的展览“Lili Dujourie：时间的褶皱”曾于2015年荣获AICA比利时最佳展览奖。
Kelvin Kyung Kun Park Solo Exhibition:
When Tigers Used to Smoke
Korean artist Kelvin Kyung Kun Park's exhibition "When Tigers Used to Smoke"¹ at OCAT Shanghai, unfolds around the shaping of the self, taking viewers to explore the intertwined relationship between self and other in the process of continuous reflection, reversal, and reconstruction, to address anxieties of self-knowledge and identity crisis from multiple perspectives.
Kelvin Kyung Kun Park, still from 1.6 Sec, 2016, two-channel HD video, 16 min 56 sec, 12 min 27 sec (color, sound), image courtesy of the artist and Vanguard Gallery
The exhibition will feature several important video and installation works by Kelvin Kyung Kun Park. The exhibition starts with his latest series, "Animal" (2021), in which Park attempts to dismantle the shaping process of self-perception through observing and imagining animals in action, hence re-examining the position of humans in the natural world. By applying Waveform Signal used to determine color information so that the color and brightness of the captured beasts' bodies constantly fluctuate up and down on the XY axis, allowing the viewer to see the dismantled, fluid, and even dislocated living beings in action, thereby to re-imagine humanity in that context. The work Stairway to Heaven (2016) turns to a more personal view, exploring how politics, tradition, pop culture influence the individual's relationship with the other and the collective, and so on, as well as how such influences internalize and disorients the self. Other important works from his early years, Cheonggyecheon Medley (2010) and 1.6 Sec (2016) both subject to imagine the relationship between human and industrial production from different perspective. The former dipicts the daily life of the residents in the area of Cheonggyecheon Seoul, where Korean industry and commerce gather. It is a euphemism for the development of modern Korean industry, revisiting the cult of collective grandeur that industry once represented in the modernization process from the perspective of digital images. The latter portrays a highly mechanized factory assembly line, imagining the mutual gaze between man and machine and man's self-perception in the modern production and living environment.
Kelvin Kyung Kun Park, still from Cheonggyecheon Medley, 2010, five-channel SD video,14 min 48 sec, 15 min 39 sec, 21 mins, 18 min 24 sec, 13 min 49 sec (color, B&W, sound), image courtesy of the artist and Vanguard Gallery
From the issues in the steel jungle to the seemingly simple visual alienation of animals, Park always asks the viewer, and more importantly himself, the essential question of human nature from various perspectives and approaches: How do I become me? Do I really have a sense of subjectivity?
Curator Wang Weiwei
¹ The Exhibition Title "When Tigers Used to Smoke (호랑이 담배 피던 시절)," originated from a Korean folklore, means "once upon a time."
ABOUT THE ARTIST
Kelvin Kyung Kun Park (b. 1978, Seoul, Korea) is an artist based in Seoul, Korea, working primarily in the medium of film & video, photography, and installations. He has screened his highly acclaimed first full-length film, Cheonggyecheon Medley, 2010, at various international venues, including the Berlin Film Festival, Busan International Film Festival, Warsaw Planet Doc Film Festival, Los Angeles Film Festival, Hot Docs festival, among others. Park’s video installation works have been shown at the Ilmin Museum of Art in Seoul and Daegu Art Museum, Arko Art Centre, Opsis Art Gallery, and the 2012 Taipei Biennale. Park followed his debut up with "A Dream of Iron", which debuted at the Berlin International Film Festival. The film featuring a series of visual tableaux filmed at the Pohang Steel Company and Hyundai Shipyard, won the NETPAC Award at Berlinale and subsequently played at the Museum of Modern Art in New York and at the Sharjah Bienniale.
ABOUT THE CURATOR
Wang Weiwei is currently the Curator of Exhibitions and Collections at CHAT. From 2010 to 2017, Wang was the curator at the Museum of Contemporary Art, Shanghai (MoCA Shanghai). In 2017, Wang participated at the Curator-in-Residence Programme at the Kuandu Museum of Fine Arts in Taiwan, and the International Researcher Programme at the National Museum of Modern and Contemporary Art in Seoul, South Korea. Wang was then appointed as the co-curator at the 12th Shanghai Biennale and awarded an Individual Fellowship by Asian Cultural Council Hong Kong in 2018. She has conducted on a series of researches on East Asian Contemporary Arts since 2019.
Oliver Laric Solo Exhibition:
Exoskeleton
For Austrian artist Oliver Laric's exhibition entitled, "Exoskeleton" at OCAT Shanghai, his first institutional solo show in China, a trilogy of recent animation films completed between 2014 and 2021 will be presented together for the first time. Their consecutive development can be construed as a declension of cultural and technical means in animation production gradually building on each other in a broad framework. The films will be shown along with a set of five sculptures based on 3D-scans and photogrammetry of existing sculptures from museum collections, to underscore Laric's premise that new is a continuation of what already exists.
Oliver Laric, still from Untitled, 2014/15, single-channel video, 5 min 47 sec (color, sound), image courtesy of the artist and Tanya Leighton Gallery, Galeria Pedro Cera, Galerie Widauer
After he started with this body of work around 2013, he set to derive appr. 20 sculptural forms, of which, this exhibition shows five essential examples. These pieces are also available for free downloads on his personal website since 2012. Conceived as open and editable source material, the forms Laric adopted bridge and connect European naturalist sculpture with ancient precedents from Egyptian, Greek, or Roman origins. By highlighting the provisional status of every sculpture, Laric opens the realm of discussion to all sorts of ideologies and political interests. These sculptures form a vocabulary by which the artist questions the notion of stability particular to this medium, and accentuates ideas of impermanence and fluidity as global and intercultural driving forces undermining distinctions between nature and culture.
Oliver Laric, Pair of Dogs, 2022, SLA resin, aluminum stand, 30 × 143 × 53 cm, image courtesy of the artist and Tanya Leighton Gallery, Galeria Pedro Cera, Galerie Widauer
The exhibition title "Exoskeleton" refers to the surface-oriented scanning process in which Laric’s objects are produced, the shell structures of armour suits in his sculptures, and the protective shields of insects or animals, depicted repeatedly in his videos. An exoskeleton marks a threshold between inside and outside, life and death, on a philosophical level, between form and content. This term also seems appropriate to describe the production process of this exhibition, which arrives at an end through the collaboratively produced "Exoskeleton" from which the show would develop its specific external and internal form.
Curator Martin Germann
² All 3D models on Oliver Laric's personal website (https://threedscans.com) are available to download and use, and free from copyright restriction.
ABOUT THE ARTIST
Oliver Laric (b. 1981, Innsbruck, Austria) is one of the most original new media artists working today. Laric’s practice blurs distinctions between original and reproduction, digital and actual. Since 2008 Laric has been 3D scanning objects, primarily from museum collections, and making them publicly available, free of copyright restrictions. He posts the scans on his website threedscans.com, where there are nearly one hundred examples—from Renaissance figurative sculpture to bas-relief from an Angkor Wat temple— that can be downloaded and used to endlessly produce new versions.
Underscoring the impact of digital technology on notions of originality, Laric’s artistic expression occurs in the acts of repetition, versioning, and free distribution, in mediums such as film, sculpture, and other forms. He has exhibited at the New Museum, New York; the Prada Foundation, Milan; the Secession, Vienna; the Center for Contemporary Art, Tel Aviv; the Fridericianum, Kassel; and Palais de Tokyo, Paris. among others. His work has been acquired for the collections of the Cleveland Museum of Art; the Walker Art Center, Minneapolis; and the Haubrok Collection, Berlin.
ABOUT THE CURATOR
Martin Germann (b. 1974, Herdecke, Germany) is an author and curator who lives and works in Cologne/Germany. In October 2021 he was appointed Adjunct Curator at Mori Art Museum, Tokyo. He is also a Curatorial Advisor for Aichi Triennale 2022. From 2012 to 2019 he was leading the artistic department of S.M.A.K., the Municipal Museum of Contemporary Art in Ghent, Belgium, where he worked on numerous solo and group and collection exhibitions as well as major acquisitions.
In earlier stages, he was Curator at Kestner Gesellschaft Hanover (2008-2012). Before this, he worked for the 3rd Berlin Biennial for Contemporary Art (2003-2004), and directed the program of ‘Gagosian Gallery, Berlin’ for the 4th Berlin Biennial of Contemporary Art’ (2005-2006). He regularly publishes exhibition catalogues and monographies, and his writing has appeared in magazines such as 032c, Frieze, or Mousse. He is board member of “Etablissement d’en Face” in Brussels and I-AC Villeurbanne’s acquisition committee. For “Lili Dujourie: Folds in time” (2015), he received an AICA award for Belgium’s best exhibition.
展览将于2月26日15:00正式对公众开放。
本次展览将严格落实疫情防控措施：
1) 入馆前观众需配合工作人员做好信息登记、体温检测，并出示健康码，显示为绿码方可进入展厅；
2) 看展过程中需全程佩戴口罩；
3) 排队时请保持1.5米以上安全距离；
4) 展厅设观众人数接待上限，当人员密度较大时，将根据具体情况采取控制入场速度等相关措施；
5) 有以下任一情况者谢绝入馆：健康码黄色或红色；14天内有中高风险地区旅居史；体温测量2次以上皆高于37.2摄氏度。
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，节假日等特殊时期开放时间根据场馆公告而定）
最后入场时间：17:30
10:00-18:00 from Tuesday to Sunday (Closed Mondays except public holidays)
Last Entry 17:30
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