其他
研究NOTE | Anicka Yi 安妮卡·易：气味、种族与生命
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策展人研究笔记
艺术家 | About the Artist
艺术家简历 | CV
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Anicka Yi | 安妮卡·易
1971 born in Seoul, South KoreaLives and work in New York City
EducationHunter College, City university of New YorkUniversity of California, Los Angeles
Selected Solo Exhibitions2019“We Have Never Been Individual,” Gladstone Gallery, Brussels2017“The Hugo Boss Prize 2016: Anicka Yi, Life Is Cheap,” Solomon R. Guggenheim Museum, New York2016“Jungle Stripe,” Fridericianum, Kassel, Germany 2015“7,070,430K of Digital Spit,” Kunsthalle Basel, Basel, Switzerland “6,070,430K of Digital Spit,” List Visual Arts Center, MIT, Cambridge, Massachusetts "You Can Call Me F,” The Kitchen, New York 2014“Divorce,” 47 Canal, New York“Death,” Cleveland Museum of Art, Cleveland, Ohio 2013“Denial,” Lars Friedrich, Berlin 2011“Galerie Rudiger Schoettle, Munich, Germany (two-person show with Tim Lee)“SOUS-VIDE,” 47 Canal, New York“Excuse Me, Your Necklace Is Leaking,” Green Gallery East, Milwaukee, Wisconsin2010“Loveless Marriages,” 179 Canal, New York (two-person show with Josh Kline)
Selected Group Exhibitions2020Psychic Wounds: On Art & Trauma,” The Warehouse, Rachofsky Collection, Dallas2019“May You Live in Interesting Times,” Venice Biennale 2019, Venice “New Order: Art and Technology in the Twenty-first Century,” Museum of Modern Art, New York “Laws of Motion,” Gagosian, San Francisco “LA PLAGE,” Galleria Zero, Milan, Italy2018“Laws of Motion,” Gagosian, Hong Kong“57th October Salon: The Marvellous Cacophony,” Serbian Academy of Art and Science, Belgrade, Serbia“The Racial Imaginary Institute: On Whiteness,” The Kitchen, New York“An exhibition with art installations by Susana Mejía, Pamela Rosenkranz, and Anicka Yi,” Witte de With Contemporary Art, Rotterdam, The Netherlands“In Tune with the World,” Fondation Louis Vuitton, Paris, France“School of Chairs,” The 500 Capp Street Foundation, San Francisco, California “Art in the Age of the Internet, 1989 to Today,” The Institute of Contemporary Art / Boston, Boston2017“Remedial Works, curated by Andrew Varano,” Perth Institute of Contemporary Arts, Perth, Western Australia “Trigger: Gender as a Tool and a Weapon,” New Museum, New York “Future Eaters,” Monash University Museum of Art, Melbourne“The Dream of Forms,” Palais De Tokyo, Paris, France“An Inventory of Shimmers,” List Visual Arts Center, MIT, Cambridge, Massachusetts“56 Artillery Lane,” Raven Row, London“.com/.cn,” K11 Art Foundation, co-presented by KAF and MoMA PS1, Hong Kong"Whitney Biennial Exhibition,” Whitney Museum of American Art, New York“Trans-subjective Engagements,” Koenig and Clinton, New York“Jaguars and Electric Eels,” Julia Stoschek Collection, Berlin“The Stand,” P!, New York 2016Faisons de l'inconnu un allié, Lafayette Anticipation – Fondation d’entreprise Galeries Lafayette, Paris “Okayama Art Summit 2016,” Okayama, Japan“NO MAN’S LAND: Women Artists from the Rubell Family Collection,” National Museum of Women in the Arts, Washington, D.C.“Dolores,” Team Gallery, New York“Overpop,” Yuz Museum, Shanghai“11th Gwangju Biennale: The Eighth Climate (What Does Art Do?),” Gwangju Biennale Foundation, Gwangju, South Korea“FOOD–Ecologies of the Everyday,” 13th Fellbach Triennial of Small-Scale Sculpture, Fellbach, Germany“Self-Portrait,” Massimo de Carlo, Milan“outrageous acts and everyday rebellions,” Kaufmann Repetto, Milan
作品 | About Artworks
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人工智能与细菌
AI and Bacteria
」《机器的生物化（触觉麻烦）》利用大型海藻制作悬挂的发光雕塑，透着光的表面像是皮肤或皮革的质地，让人联想起器官甚至仿生虫卵。藻类是地球上数量最大、存在时间最久的生物群体，也是一种强大又易变的生物实体。该作品使用新型生物材料，激发人们对生态进化历史和藻类潜在应用的关注。雕塑下隆起的地面也在展览现场呈现了这些原始生物、人类生命的起源与海洋之间的联系。
感官的生命政治学
Biopolitics of the Senses
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1. Best Friend's Arm, 2015
2. A Box in Which Four Seasons Will Fit Again, 2015
3. Bladder Burst, 2015
展览 | Exhibitions Review
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7.070.430K 电子分泌物
Installation view: 7,070,430K of Digital Spit, Kunsthalle Basel, 2015. Photo by Philipp Hänger.
新秩序：21世纪的艺术和科技
Museum of Modern Art, New York, USA
2019.3.17 - 2019.6.15
该装置作品在纽约现代艺术博物馆群展中展出，切合了展览对新世纪下艺术和技术孕育出的新秩序的探索。安妮卡曾说：“I think that the role of the artist is really, quite frankly, as much as a scientist, to define what life is and what life can be.（坦率地说，艺术家的角色和科学家一样，都可定义生命是什么，以及生命可以是什么。）” 安妮卡与化学家、生物学家和工程师一起合作，共同拓宽艺术的新的体验方式，使得“艺术”在她的手中充满无限潜力去探索物质、时空和感知间的奥秘。
Anicka Yi 最新个展
Espace Louis Vuitton München, Munich, German
2020.6.26 - 2021.1.10
《风味基因（The Flavor Genome）》对「动植物的结合」进行了深入研究，不断挖掘人工气味和香味的潜力。该影片拍摄了一段在亚马逊雨林和巴西秘密实验室的3D镜头旅行，并在以下场景中来回切换：艺术家在编辑数据（同时也在兰花温室中悠闲漫步或是乘着一艘独木舟）、细胞和微生物的动画片段、一位匿名科学家在她的实验室里研究兰花花瓣，此外，还有许多超现实的科幻小说以及与一个精准生物医学科学词汇的并置，凸显出新科技技术影响下人类对自然的感知，同时也强调了在西方社会不受控制的消费形态下所导致的全球南方（包括非洲国家、拉丁美洲以及亚洲大部分地区）资源枯竭的现象。
通过这件作品，安妮卡继续研究了她所感兴趣的感官和直觉对人类行为的影响，同时也分析了人类、植物、动物和分子世界之间的新关系，发掘「人为重建每一种感官体验」的可能性。此3D影像作品与美国艺术家 Trisha Donnelly 的作品一起呈现于展览“在大门之外（Hors-les-murs）”中，且均由路易威登基金会收藏。
频道 | Virtual Channel
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气味艺术 | The Art of Smell
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编译 / Roxy, Yan, Shuni
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