正在展出 | 施林·奈沙（Shirin Neshat）电影与摄影作品
▶︎ 格莱斯顿画廊 ｜ 正在展出
施林·奈沙 Shirin Neshat
《梦中人》 Dreamers
格莱斯顿画廊 ｜ 纽约西24街515号（切尔西区）
Gladstone Gallery, 515 W 24th St, New York
展期：2017.05.18 – 06.24
▲ 施林·奈沙《梦中人》展览现场，格莱斯顿画廊，2017.05.18 – 06.24。Shirin Neshat Dreamers, installation view at Gladstone Gallery, May 18–June 24, 2017.
施林·奈沙（Shirin Neshat）在格莱斯顿画廊举办的新展览，将呈现一部电影作品和与之相关的一系列摄影作品。透过极富感染力的图像和引起观者情感共鸣的场面调度，奈沙的摄影和电影装置探讨了由差异性孕育出的文化结构。本次展览标志着奈沙第一次将目光完全转向了美国文化，并试图剖析在美国生活的伊朗人，在当下所面临的紧张而值得反思的生活经历。在电影作品《洛珈》（Roja）和这些新照片中，奈沙展现了身处两种文化之间的矛盾情绪，审视了由这种经历所塑造的个人和政治身份。受曼·雷（Man Ray）和梅雅·黛伦（Maya Deren）的超现实电影的启发，奈沙用变幻莫测的图像、夺人心魄的遭遇和神秘主义的观点，进一步揭示出“外来者”的模糊身份。借由梦境的逻辑，艺术家呈现出这种忧虑的主体立场下令人困惑的复杂性，体现了处于交叉位置的个体所面临的两难境地。
▲ 施林·奈沙《梦中人》展览现场，格莱斯顿画廊，2017.05.18 – 06.24。Shirin Neshat Dreamers, installation view at Gladstone Gallery, May 18–June 24, 2017.
影片《洛珈》（Roja, 2016）的灵感，来源于奈沙对自己的梦境、记忆和欲望的追忆。它追溯了一位伊朗女性，在希冀融入美国文化的同时，为了调和自身身份所做出的不安尝试。在面对两种文化语境所带来的双重疏离感时，这位与影片同名的主人公，经历了“外国”与自己所熟悉的“母国”同时施加的不适感和敌对。奈沙弱化了洛珈的社会和情感依附——一场卡巴莱表演转变为一场噩梦般的对其身份的挑战；复苏的家族纽带却变得越来越令人可怖。全片中，奈沙特异疏离化了美国式的景观——带有乌托邦色彩的政府建筑，以及令人联想到中东的煤矿矿井——从而将洛珈置于一个模糊的心理和政治地带。借由非线性的叙事和抖动镜头的手法，影片质疑了我们与世界的既有关系，营造出一个不受社会-历史区分所局限的自由领地。
▲ 《无题，洛珈系列》Untitled, from Roja Series, 2016；银盐照片 silver gelatin print； 104.1 x 154.9 x 5.7 cm，5版／editions＋2AP ／© Shirin Neshat
伴随这部影片展出的新摄影作品，同样展现了艺术家的这种背离。在此之前，奈沙最为著名的作品，是用毛笔将引自宗教文本和诗歌的文字书写于面部的肖像摄影系列。本次展出的新作品，则以美国的白人男性和女性作为拍摄主题，其中有不少拍摄对象曾在影片《洛珈》里出现。这些模糊而令人费解的肖像，成为了对强行划分的文化边界所作出的神秘隐喻。它们同时质疑了由社会结构引发的“区分”，是如何透过种族、阶级和国籍对人们产生情感牵制的。本次展出的影片和摄影作品，以一种被弱势化的观点作为基础，提供了一份有关身份的论述。它们试图借助现实和超自然之灵力，重拾全球化的多样性。
▲ 施林·奈沙《梦中人》展览现场，格莱斯顿画廊，2017.05.18 – 06.24。Shirin Neshat Dreamers, installation view at Gladstone Gallery, May 18–June 24, 2017.
施林·奈沙是一位出生在伊朗，目前在纽约生活的艺术家和电影人。作为当前第57届威尼斯双年展的官方平行展项目，奈沙的展览目前正在科雷尔博物馆举办。此外，她曾在诸多国际知名美术馆举办个展，其中包括：赫希洪博物馆和雕塑园，华盛顿；阿姆斯特丹市立博物馆，阿姆斯特丹；蛇形画廊，伦敦；汉堡火车站美术馆，柏林；蒙特利尔当代艺术博物馆。2013年，底特律艺术博物馆曾举办施林·奈沙的大型回顾展。奈沙曾荣获第48届威尼斯双年展（1999年）最高荣誉金狮奖；广岛自由奖（2005年）；以及桃乐丝与莉莉安·吉许奖（2006年）。2009年，奈沙导演了她的第一部剧情长片《没有男人的女人》，并凭借该片荣获第66届威尼斯国际电影节银狮奖“最佳导演奖”。奈沙目前正在完成她的第二部剧情长片《寻找乌姆·库勒苏姆》（Looking For Oum Kulthoum）。
▲ 施林·奈沙《梦中人》展览现场，格莱斯顿画廊，2017.05.18 – 06.24。Shirin Neshat Dreamers, installation view at Gladstone Gallery, May 18–June 24, 2017.
Shirin Neshat’s new exhibition at Gladstone Gallery features a film and a related series of photographs. Through charged imagery and evocative mise-en-scène, Neshat’s photography and film installations critique the cultural construction of difference. This exhibition marks the first time she fully turns her attention to American culture, dissecting the tense and querying experience of being an Iranian in the United States today. In both the film Roja and a new series of photographs, Neshat confronts the ambivalence of living across two cultures and how it coheres to both personal and political identity. To tackle the ambiguous status of the outsider, she utilizes enigmatic images, haunting encounters, and mystified points of view influenced by the surrealist films of Man Ray and Maya Deren. She mobilizes dream logic to represent the disorienting complexity of this fraught subject position and to make visible the double binds of intersectional identity.
▲ 《琳达，梦中人系列》 Linda, from Dreamers Series, 2016；颜料打印 pigment print； 128.3 x 92.7 cm，5版／editions＋2AP ／© Shirin Neshat
Roja (2016), drawn from Neshat’s own recurring dreams, memories, and desires, traces an Iranian woman's disquieting attempts at connection with American culture while reconciling her identification with her home country. Encountering her own sense of alienation from both, the titular protagonist experiences how both the foreign and the familiar can become unnerving and hostile. Neshat undermines Roja’s social and affective attachments—from a cabaret performance that becomes a nightmarish challenge to her identity, to a recovery of familial bonds that turns increasingly frightening. Throughout the film, she estranges American landscapes—the utopic attempts of government architecture and coalmines that evoke the terrain of the Middle East—to situate Roja within an ambiguous psychic and political terrain. Using nonlinear narratives and destabilizing in-camera techniques, the film questions the relationships that tie us to the world and reveals the transcendence of release into spaces unbounded by socio-historical demarcations.
▲ 《肯，梦中人系列》 Ken, from Dreamers Series, 2016；颜料打印 pigment print； 128.3 x 92.7 cm，5版／editions＋2AP ／© Shirin Neshat
▲ 施林·奈沙《梦中人》展览现场，格莱斯顿画廊，2017.05.18 – 06.24。Shirin Neshat Dreamers, installation view at Gladstone Gallery, May 18–June 24, 2017.
Along with the film, new photographs also represent a departure for Neshat. Well-known for her portrait series in which calligraphy quoting religious texts and poetry enliven the contours of the face, the series takes as it subjects white men and women from the United States, many of who also appear in Roja. Obscured and blurry, these portraits become a metaphor for the mystifications that enforce cultural boundaries and question how socially constructed difference limits sympathetic attachments across race, class, and nationality. Taken together, the film and the photographs open up the discourse of identity beyond a minoritizing view and seek to reconcile global diversity on both the local and psychic registers.
Shirin Neshat is an Iranian-born artist and filmmaker living in New York. Neshat is currently the subject of an exhibition at the Museo Correr, an official corollary event to the 57th Biennale di Venezia. She has mounted numerous solo exhibitions at museums internationally, including: the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Stedelijk Museum, Amsterdam; the Serpentine Gallery, London; Hamburger Bahnhof, Berlin; and the Musée d’art contemporain de Montréal. A major retrospective of her work was exhibited at the Detroit Institute of Arts in 2013. Neshat was awarded the Golden Lion Award, the First International Prize at the 48th Biennale di Venezia (1999), the Hiroshima Freedom Prize (2005), and the Dorothy and Lillian Gish Prize (2006). In 2009, Neshat directed her first feature-length film, Women Without Men, which received the Silver Lion Award for “Best Director” at the 66th Venice International Film Festival. Neshat is currently completing her second feature-length film, entitled Looking For Oum Kulthoum.
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格莱斯顿画廊（Gladstone Gallery）由芭芭拉·格莱斯顿女士（Barbara Gladstone）于1980年在纽约曼哈顿创办，目前在纽约和布鲁塞尔有多家分部。画廊代理五十位著名在世和已故的艺术家。
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