PAM预告｜Daniel Knorr 丹尼尔·克诺尔：物化——国际艺术家大型个展即将开幕
展期：2021/12/18-2022/3/30
策展人：李振华
出品人：刘晓都
主办：坪山区文化广电旅游体育局
承办：坪山美术馆
执行团队：坪山美术馆团队
展务执行：天地众行——艺术品服务
设备支持：上海河路文化传播有限公司
平面设计：huangyangdesign
展览拍摄：别眨眼（北京）文化传媒
支持机构：明天见艺术组合、红树林画廊
丹尼尔克诺尔特别致谢：明天见艺术组合、红树林画廊 、ifa (Institut für Auslandsbeziehungen)
丹尼尔 · 克诺尔特别致谢：明天见艺术组合（滕斐、黄扬、梁荣）、红树林画廊 、ifa (Institut für Auslandsbeziehungen)、刘晓都、李振华、Nevin Aladag、Jan von Burgsdorff、邓彬彬、胡欣培、卢蓬、张永、余丽萍、林语、朱一川、龚迎春、苏文达、Ingrid Klenner（排名不分先后）
从现成品（ready-made）到光晕（aura）的消散，艺术家杜尚和苏黎世达达的运动，是否影响到了一二战间的理论家本雅明？同为离散漂泊的人生，艺术家、知识分子对现代性，及其带来的改变有着非常特殊的表述和解释。杜尚的「泉」和本雅明「机器复制时代的艺术」，都可以被看作艺术自观念、技术性到社会普世审美经验转化的重要支点。「泉」与达达之后，催生了之后的观念艺术、现成品概念、装置艺术、极简主义、贫困艺术等思潮与实践。本雅明「机器复制时代的艺术」之后，摄影作为艺术，为新媒体艺术的兴起垫基，并让艺术领域的工作者，重新反思图像的真实、叙事，及其美学形态的存在。
杜尚的艺术探索是非图像多物质的，探讨现成品美感和众多拼合的物件累加，艺术不再是图像上的叙事、色彩、构图等线索下的审美观念，艺术从其固有的线索脱离出来。仅仅作为物质（性）的存在，是反思现在的凭借物，并为思考当代为何物提供视觉经验，这也可以被看作是1969年泽曼策划的「当态度成为形式: 活在你的脑中」的密切联系。
本雅明所支持的关于视觉经验的技术议题，技术介入后的艺术的原创性和可复制性的张力，也为之后马克卢汉「媒介即讯息」开辟了道路。而理解1900年之后艺术、技术、审美、社会变迁，也就必然的要回到具体的艺术家和物质，理念和技术创新，社会变化和个体经验的诸多张力中去探讨，今天的艺术是什么？以及那些艺术的来源。也必须在观看的时候追问，这是不是现成品，这是不是机器复制的产物。然后再问艺术存于介质，或如本雅明所提“灵光”之一瞬。
「欧洲感冒」，罗马尼亚馆，第51届威尼斯双年展 © Daniel Knorr，图片由丹尼尔提供
在“关系美学”探讨的介于人与人之间的艺术基础，以及其庞大到万事万物，后被皮埃尔·于热归为“人和非人”的创作线索。
思维让人从劳动中解放，而科技信息时代的到来，让艺术也从艺术的具体创造，走向更精神性的存在。而事实的另一个主线，确是被物质化的现实所统治，任何观念所主导的，都成为可以交易、传播的具体化介质，如索尔·勒维特或劳伦斯·维纳的文字游戏，或在美术馆，或在建筑物的外立面，或他们被交易的手稿、文本，以及任何有着痕迹的介质，这些不都在反证物质和手工艺的价值大于观念？或是人阅读信息和理解图像的惯性，观念因其不确定而存之无处，或伴随时代变迁，语意延展。
关系美学是否是观念艺术的延续？时间上有着上下文的关系，或许互文艺术和关系美学接得更紧密一些，因其运动、交互的特性，其转化的具体的点（范式），或其指向的终点——作品化，是相对统一的。这在之后一群艺术家为首的皮埃尔•于热更倾向于“稍纵即逝的艺术”这一理念。观念艺术、互文艺术或过去艺术所固有的时间维度被突破了。时间所连带的物质性结果从「当态度成为形式:活在你的脑中」这一线索看，其包含的物性转化、表演性、交互性、新媒介化等等特征，都在归于一个还未曾被下定义的倾向，却在越来越多的艺术家创作中越来越普遍。
这是这个时代存在的悖论，我们依旧在讨论绘画、雕塑、录像等已经被传统审美系统所统一的意识及其延续，不能忽略现代性介入后，观念和技术介入的结果。而机械的、高科技的、荧光色和超级材料构成的新艺术趣味，确实也在新兴的艺术市场和艺术体制更多被接受。而这正是工业革命之后，技术带来的迭代，是新兴科技信息革命统治下的结果。一切可能被连接的，从手工艺到思维，都有可能构成深度学习和未来智能的组成部分。而关于创造的物质交换，也依旧保持着从人类创造以物易物到货币，其应该有的流转方式和模样。
观念艺术和关系美学存在的悖论，因思维之于人的不可知，也就自然的指向了视觉体验或知识构建的物质和非物质的撕裂，当代话题中所包含的更广泛的社会议题之迭代，也自然的被引入其中，并重新构建。
人如何思考其存在的时间、环境和文化之流动。
高速移动的和超真实的虚拟经济体，以及生存所凭借的土地、房屋等，人在谈论乡愁的时候，他在谈论什么？什么是更好的未来和现在？人总会怀念过去的好时光。怀旧是新的集体无意识，因世界、知识和人都是流动的，放弃了介入和讨论现在的可能性，以及缺乏对未来的责任感，而接受现在也是生存的必须。现代性并非一成不变，而生活本身也在瞬息间。人应该如何介入到今日世界的形成？
杜尚和本雅明都是其时代的逃亡者，流动性和知识生产是否有联系？如何认识到事物的本质。花非花、雾非雾，不也正好赋予了“一切存在的都必须转型”吗？回不去的过去和家，让人能更好的理解移动带来的认知拓展，如何理解现代性冲击下的生存，如何理解现代性生产关系下人存在的困境。劳动力和劳动者的身份被替代，如凯文•凯利「必然」中所言，并非人和人的竞争导致了失业率攀升，人和机器、Ai的竞争正在逐渐影响到社会人群的构建方式。流动性带来的疾病、环境污染、文化交融等等，是否也会是上一个社会模型终结之前兆？
人从哪里来？向何处去？他乡即故乡，也许更能在今日世界拾得温暖。
「呼气运动」，德利希安农博物馆，2017年第14届德国卡塞尔文献展
所有能被识别的人类行为、物质和非物质的总和。这大概是丹尼尔在其表述中所提及的概念，物质化，并不仅仅是物质对思想、概念的转化，而是在其上的累加，并有其不稳定和不确定之指向，他特意将这类型的艺术区别于其他，如雕塑、绘画、装置等。丹尼尔并不完全将其创作限定在达达主义、观念艺术、互文艺术、关系美学的脉络中，而是更多考虑一直统合在时间线索下，以及超高速的社会议题中，不断变化的形态，以及开放的可能遭遇的结果。
1994年其创作的「粉末」，其中隐含着的“关系美学”特征，涉及到的表演性因素，从警察局的证物到现场站岗的警察；粉末上的刻画，原始冲动和防弹玻璃的保护；现实场景和二次媒体报道。丹尼尔有着类似于今天流媒体特征的习惯，其专注和作品都在不间断的适应转型。从而让观者和研究者如坠雾中，作品所依存的凭借物在不断延展的过程中，无法聚焦。作品观念的原初性，也在不断的转移中，不间断的生成不同时间点的交叉。唯一可以被逆向追踪的就是时间，发生在过去和未来之间，有着一个个不同的点状凝结，构成了一个摄影术中研究运动的连续，或游戏中每个关卡的设定。除此之外，不断叠加的还有媒介，层层剥除媒介，设计传媒的图像、法外之物、现实观众的反应、从警察局到展厅的社会服务者等等因素。
2005年威尼斯双年展罗马尼亚国家馆，丹尼尔创作了「欧洲流感」，一个巨大空洞的空间和策展人收集的根本无法完全阅读的文本，一切都是指向历史和现在的，而观众可以选择逃走，展厅的后门直通花园，恰是这个开放的结构，回应了国家馆的存在悖论，以及艺术家和艺术体制侥幸的机智。如观者和研究者，会在这里看到什么？体会到什么？会选择从后门走掉吗？这个早已是全球化和新自由主义缩影的双年展，一个艺术家能在添加的时候，出离。并将来看艺术的人，置于极端的空无中。
或许有人阅读了策展人准备的文本，对欧洲近代历史有所知晓；或许在空无中，有人顿悟；或许这个展厅不过是一个可穿过的通道；或许这些都是丹尼尔设计的可能的结果之一。艺术家逆转了你对艺术的看法吗？创造和消解的并存，过客和过道的应景，仅仅是进与出，思考一个人和国家，一个国家和众多国家，一个被看却没有展览视觉经验的观看。也许一个艺术领域的观众，会说这是观念艺术，也许在展厅中、展厅外会有不一样的感触。从众多展览到自然的花园，看植物或大海。
2017年卡塞尔文献展，丹尼尔的「失效运动」 置于弗里德里希阿鲁门博物馆的最高点，滚滚白烟与云连接着。个体触发的事件，烟雾的表演性，公众的反应，以及作品多变的形态——遭遇偶然性。丹尼尔在之后呈现作品时，引用了大量来自网络的图片，图片中其作品的形态，和被传播所赋予的构图、色彩、叙事，也在借助着互联网的传播效应，让这件作品的信息永生。丹尼尔将图片再次置入美术馆展厅时，是再现，也是新媒体考古的引入，让人遭遇时再思，存在和虚无，存在和时间，存在和媒介等等问题？
艺术家创造了什么？艺术家在其流动性的观念和媒介叠加中，在适应或挑战什么？
文 / 李振华
艺术家
丹尼尔·克诺尔
1968年出生于罗马尼亚布加勒斯特，现工作和生活于柏林、香港。曾获 2012 不莱梅“箍桶匠街”艺术奖（不莱梅艺术馆，德国不莱梅）。
部分个展
2022年Pilevneli画廊，伊斯坦布尔；Rüdiger Schöttle画廊，慕尼黑 ；Fonti画廊，那不勒斯。
2021年“丹尼尔·克诺尔”，IKOB当代艺术博物馆，比利时奥伊彭“物化：丹尼尔·克诺尔”，坪山美术馆，深圳。
2020年“丹尼尔·克诺尔”，图宾根美术馆，德国图宾根；“画布雕塑”，红树林画廊，深圳；“画布雕塑”，近圣史蒂芬艺廊-萝丝玛丽·施瓦兹华特，奥地利维也纳。
2019年“洗涤”，巴塞尔艺术展意象无限单元，近圣史蒂芬艺廊-萝丝玛丽·施瓦兹华特/麦习画廊，瑞士巴塞尔；“蘸旧”，麦习画廊，德国柏林；“书法假发”，重庆大厦，香港。
2018年“还原 基本——丹尼尔·克诺尔：艺术家的书”，油街艺术空间，香港。
2017年“世界的肚脐”，巴塞尔迈阿密海滩国际艺术博览会，巴斯艺术博物馆，美国迈阿密；“立即减速”，近圣史蒂芬艺廊-萝丝玛丽·施瓦兹华特，奥地利维也纳；“丹尼尔·克诺尔：《我一生挚爱不再爱我了》，现代艺术陈列馆，德国慕尼黑；“凹陷海拔”，麦习画廊，德国卡尔斯鲁厄。
2016年“单人堡垒”，abc艺术柏林当代艺博会，近圣史蒂芬艺廊-萝丝玛丽·施瓦兹华特，德国柏林；“心灵状态”，Manière Noire，德国柏林。
2015年“Vieni Vidi Napoli”，Galleria Fonti画廊，意大利那不勒斯；“重生石”，现当代艺术博物馆，意大利贝加莫。
2014年“月相”，近圣史蒂芬艺廊-萝丝玛丽·施瓦兹华特，奥地利维也纳；
2013年“凹陷海拔”，凯吉克画廊，美国洛杉矶；“索尔法塔拉火山”，Galleria Fonti画廊，意大利那不勒斯；“即时社群”，tranzit.ro/cluj艺术中心，罗马尼亚克鲁日。
2012年“扑满”，与Coate Goale共同展出，Salonul de Proiecte画廊，罗马尼亚布加勒斯特；“爆炸”，维也纳美术馆，卡尔广场，奥地利维也纳；“州官火”，阿恩斯贝格艺术协会，德国阿恩斯贝格。
2011年“死字办公室”，近圣史蒂芬艺廊-萝丝玛丽·施瓦兹华特，奥地利维也纳；“M就是凶手”,Lothringer_13_Halle艺术中心，德国慕尼黑；“司法的界限”，斯德哥尔摩罗马尼亚文化中心及Färgfabriken画廊，瑞士斯德哥尔摩。
2010年“传家宝”，阿恩斯贝格美术馆，德国阿恩斯贝格；“呐喊”，Galleria Fonti画廊，意大利那不勒斯。
2009年 “Led R. Nanirok”，巴塞尔美术馆，瑞士巴塞尔；“醒着睡着”，现代艺术博物馆，波兰华沙；“堵”，Artspace艺术空间，新西兰奥克兰。
2008年“破镜重圆”，弗里德里希阿鲁门博物馆，德国卡塞尔。
2007年“政治影响艺术的方式，以及反过来”，Fondazione March艺术基金会，意大利帕多瓦；“醒着的睡着的”，博尔赫斯书店当代艺术机构，广州；非艺术中心，上海；E6空间，深圳；“一年保修期”，柏林米特区雕塑公园，公共空间，德国柏林。
2006年“i 外国人来投票！”，Studio Protocol艺术空间，罗马尼亚克卢日-纳波卡。
2005年“欧洲流感”，罗马尼亚国家馆，第51届威尼斯双年展，意大利威尼斯。
部分群展
2021年“重新闪耀的世界”，艺术之家（Haus der Kunst），德国慕尼黑；“米利亚姆·卡恩、恩佐·库奇、奈文·阿拉达、丹尼尔·克诺尔”，红树林画廊，中国深圳；“这个夜晚让人心潮澎湃”，弗罗茨瓦夫当代博物馆，波兰弗罗茨瓦夫；“皮列夫内利与国王画廊”，土耳其卡普兰卡亚；第四届地中海双年展，以色列海法；“每个人都这样”，Ernesto Esposito收藏，Villa Campolieto，意大利埃尔科拉诺；“另外的声音，另外的房间”，Police Station，瑞士苏黎世；“MISA”，Messe in St. Agnes博览会，德国柏林；“瞩目”， Akzo Nobel 艺术基金会，荷兰阿姆斯特丹。
2020年“融合2020 新藏品展”，不莱梅艺术馆，德国不莱梅。
2019年 LBBW (Landesbank Baden-Württemberg) 机构收藏展，艺术柏林，德国柏林；“文字非常必要”，新建筑落成首展，Arter艺术中心，伊斯坦布尔；“艺术家与特工：行为艺术与秘密行动”，HMKV美术馆，德国多特蒙德；“面具：转变的艺术”，波恩美术馆，德国波恩；“罗马尼亚先锋艺术的历史及当下”，尼迈耶艺术中心，法国巴黎。
2018年“新北苏黎世”——苏黎世公共艺术基金，瑞士；“德国不是孤岛：2012年至2016年收藏作品展”，德意志联邦共和国艺术及展览中心，德国波恩；“权利”，Haus am Lützowplatz艺术中心，德国柏林；“平凡故事1978 I 2018”，近圣史蒂芬艺廊-萝丝玛丽·施瓦兹华特，奥地利维也纳；“月光奏鸣曲——向默恩岛星空致敬”，Kunsthal 44 Moen美术馆，丹麦阿斯克比；“嶋本昭三与……对话”，Galleria Fonti画廊，意大利那不勒斯。
策展人
李振华
1975出生于北京，现工作于苏黎世、柏林。
1996以来活跃于当代艺术领域，实践主要围绕策展、艺术创作和项目管理。现任香港巴塞尔艺博会光映现场策展人（自2014）、瑞士保罗克利美术馆夏日学院推荐人、瑞士Prix Pictet摄影节推荐人，曾担任英国巴比肯国际展览“数字革命” (2014)国际顾问，曾于2015年担任澳大利亚SymbioticA机构国际顾问、香港录影太奇顾问。李振华曾主持编撰艺术家个人出版物《颜磊：我喜欢做的》， 《冯梦波：西游记》， 《胡介鸣：一分钟的一百年》和《杨福东：离信之雾》。2013 年艺术评论以《Text》为书名出版。
2015年获得艺术权力榜年度策展人奖，艺术新闻亚洲艺术贡献奖年度策展人奖，2016年第三届乌拉尔当代艺术工业双年展（2015）获得俄罗斯创新奖地区当代艺术计划奖。
曾于众多国内外机构担任总评委，其中包括：德国转译媒体艺术节（2010），CCAA中国当代艺术奖（*现为M+美术馆希克奖2012），瑞士Fantoche动画节（2012），现代汽车Blue Prize（2018）等。
坪山美术馆位于坪山文化聚落北区，是深圳重要的公共文化设施。坪山美术馆以创新的体制机制，推动传统公立美术馆与民间美术馆的资源融通，汇聚各方能量，办一个专业化、品质化、国际化的“正而酷”的美术馆，成为集活力、包容、创意、互动为一体的新时代新都市美术馆新标杆，为市民群众带来新鲜、多元的文化享受和体验。
Duration:18/12/2021-30/3/2022
Curator: Li Zhenhua
Producer: Liu Xiaodu
Host: Culture, Broadcast and Television, Tourism and Sports Bureau of Pingshan District
Organizer: Pingshan Art Museum
Project Team: Pingshan Art Museum
Production: Top Space (China) International Trade Co.,Ltd
Equipment Support: Shanghai Helu Cultural Communication Co., Ltd.
Graphic Design: Huangyangdesign
Photography: Watching (Beijing) Culture Media Co ,Ltd
Acknowledgement from Daniel Knorr: Seeyoutomorrow Art Group, Mangrove Gallery, ifa (Institut für Auslandsbeziehungen), Liu Xiaodu, Li Zhenhua, Teng Fei, Nevin Aladag, Jan von Burgsdorff, Huang Yang, Liang Rong, Deng Binbin, Stefanie Hu, Gong Yingchun, So Man Tat
From ready-made to dissipation of aura, was the theorist Walter Benjamin during the WWI and WWII under the influence of artist Marcel Duchamp and Zürich Dadaism? Both living a drifting life, two artists and intellectuals had very special representations and interpretations of modernity and its induced changes. Marcel Duchamp’s Fountain and Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction could both be taken as important turning points for conceptual and technical art to universal aesthetic experience in society. Following Fountain and Dadaism are thoughts and practices of conceptual art, concept of ready-made, installation art, minimalism and Arte Povera. In the days after The Work of Art in the Age of Mechanical Reproduction, photography as a form of art set the foundation for the rising new media art and made those engaged in art work reflect on authenticity and narration in graphics and the existence of aesthetic forms.
Being non-graphic and tilting towards materials, Duchamp’s art explored the beauty of ready-made and cumulative patchworks. Art is no longer an aesthetic concept of graphic narration, color and composition. This freed art from intrinsic clues and made it merely a material existence, or a means to reflect upon the present, providing visual experience to support the pondering over what is contemporary. It could also been regarded as a close connection as in Live in Your Head – When Attitudes Become Form, a show curated by Harald Szeeman in 1969.
The technology issue in visual experience as supported by Benjamin, and the tension from artistic originality and replicability when technology intervenes pioneered Marshall Mcluhan’s Media is the Message. To understand art, technology, aesthetics and social changes after 1900, it is necessary to return to tensions between specific artists and materials, concepts and technological innovation, social transformation and individual experience. What is art today? What are their sources? When appreciating art, a follow-up question is necessary: is this ready-made, or product of mechanic replication. Next, art could be sought after in medium, or the transient moment of aura, just as proposed by Benjamin.
According to Wikipedia definition (Chinese version), in conceptual art the idea or concept is the most important aspect of the work while tangible representation is not as important. A famous inference made by artist Sol LeWitt says that:
The idea becomes a machine that makes the art.
This symbolizes the depreciation of handcraft in heydays of industrialization and beckons the dawning of an era when information is a means of production.
The notion of relational aesthetics explores the artistic foundation among human beings and its ubiquitous extension that coves everything, which becomes clues to creation of “Human and Nonhuman” as later summarized by Pierre Huyghe.
Intellection emancipated human beings from labor. In an IT era, art is moving from a concrete creation to spiritual existence. Another storyline as a matter of fact is indeed governed by materialized reality. Anything that could become materialized media for transaction and communication is dominated by concepts just as Sol LeWitt and Lawrence Weiner’s wordplay, or traded manuscripts and texts, and any medium with traces, either in an art gallery or on building facades. Isn’t it counterevidence to values of materials and handicrafts prevailing concepts? Concepts find nowhere to exist for their uncertainty or their changing with the times and semantics when people are reading and trying to understand graphics with inertia.
Is relational aesthetics a continuation of conceptual art? Temporally maybe. The art of intertextuality might be even closer with relational aesthetics as they are relatively uniform in movement and interaction, paradigm of transformation, or work presentation which is the directional end. A group of later artists represented by Pierre Huyghe are more inclined to the concept of transient art, thus breaking intrinsic temporal barriers for conceptual art, art of intertextuality or art of the past. From the perspective of Live in Your Head – When Attitudes Become Form, characteristics of material transformation, performance, interactivity, new medialization in temporally-consequential material results are all attributed to a tendency that has not been defined yet in spite of its prevalence in more artistic creations.
This is a paradox of this epoch. When we are still talking about consciousness and extension unified by the conventional aesthetic system of paintings, sculptures and video recordings, we can’t afford to ignore the consequence of conceptual and technical intervention in light of modernity. New artistic tastes composed of mechanical, high-tech and fluorescent super materials are indeed being increasingly accepted by emerging art markets and artistic institution. This is credited to the governance of an emerging IT revolution when technological iteration is on the heels of industrial revolution. All that is possibly connected, from handicraft to mindset, could be part of deep learning and intelligence for the future, whereas the interchange of material in creation keeps its due circulation models and patterns as from barter trade to money transaction.
The paradox for conceptual art and relational aesthetics naturally points to the rupture between material and non-material in visual experience or knowledge accumulation due to the agnostic nature of intellection. Iteration of wide social topics in a contemporary context is naturally incorporated and restructured.
What should we think about the mobility of existential time, the environment and culture?
What are people referring to when talking about nostalgia? Virtual economies that are moving super fast and super real, or land and houses for subsistence? What is a better future and present? Nostalgia is human nature and a newly-discovered element in collective unconsciousness. Mobility of the world, knowledge and people leads to abandoning the possibility of making interventions in and having discussions of the present, and to a shortage of responsibilities for the future. Accepting present is a must-do for the sake of survival. Modernity is not static and life itself resides only in passing moments. How should people intervene into the formation of today’s world?
As Duchamp and Benjamin were both fugitives of their times, is there any connection between mobility and knowledge production? How to pierce through objects to grasp its essence? When flowers are not flowers and fog is not fog, every existence has to transform itself. A home belonging to the past and a past never called back provide better understanding of knowledge expanded by mobility. How to understand survival under the impact of modernity and the dilemma of human existence in modern productive relations still wait to be answered. As predicted by Kevin Kelly in The Inevitable that it is not competitions between human beings that push high unemployment because labor forces and the identity of laborer are being replaced and stolen by machines. The rivalry between human and machine or AI is gradually influencing how groups in society are structured. Mobility spreads diseases and environmental pollution, and blends cultures together. Is this an omen to the end of the previous social model?
Where did people come from and where are they going? What is not the hometown might be a hometown. Warmth might be felt more easily in a present world.
The sum of all recognizable human behaviors, materials and non-materials might be the concept mentioned by Daniel in his narrative of materialization. It is not restricted to the conversion of thinking and concept by material but about accumulation which is both unstable and uncertain. He intentionally separates this form of art from sculptures, paintings or installations. Rather than defining his creations and works within Dadaism, conceptual art, art of intertextuality or relational aesthetics, he thinks more about constantly-changing forms in integrated temporal clues and issues in super-fast society, as well as potential consequences of openness.
Powder created in 1994 implies characteristics of relational aesthetics. Performing elements are involved such as exhibits (cocaine) confiscated by the police station and policemen on duty; patterns in powder, primitive impulses and protection with bullet-proof glass; real scene and secondary media coverage. His habits are similar to streaming media today as their focuses and works are constantly adapting and transforming themselves. With spectators and researchers feeling perplexed like engulfed by heavy fog, it is hard to have a focus when carriers of the work keep changing themselves. Originality of the work concept is also shifting, ceaselessly generating different intersections on a timeline. The only thing that could be traced reversely is time. Between the past and future, there are dots of condensation that form consistency in movement studied in photography or configurations of passes in games. Besides, if overlapped media are peeled away, there are factors of graphics in design media, confiscate spoils, reaction of real spectators, and social service providers in police station and exhibition room.
European Influenza by Daniel was in Romanian Pavilion at the Venice Biennale in 2005 with a huge empty space created. Together with texts collected by exhibitors that could never be finished, everything points to history and present. A backdoor was left open for visitors to run away. Since the exhibition hall is directly connected to a garden through the backdoor, such an open structure responds to the existential paradox of National Pavilion and the smartness of lucky artists and artistic institution. What will spectators and researchers see here? What are their feelings? Will they run away through the backdoor? The artist creating detachment in addition when this Biennale has already become a globalized epitome of neo-liberalism left spectators in extreme emptiness.
There might be spectators who read texts prepared by exhibitors to understand more about modern history of Europe; perhaps some are blessed with sudden enlightenment in emptiness; or this Pavilion is merely nothing more than a passable corridor; or these are possibly all consequences of Daniel’s design. Has an artist reversed your opinions on art? Inside the co-existence of creation and dissipation, passages and passengers are only for entering or exiting. One might dwell upon an individual and a country, one nation and many of them, or a beholding seen by spectators without visual experience of an exhibition. Perhaps visitors from a certain artistic field call it conceptual art, or have different feelings inside or outside the Pavilion. They move from multiple exhibitions to a natural garden, to see plants or oceans.
Daniel’s Expiration Movement was located on top of the Fridericianum in 2017 Documenta Kassel, with white smoke bellowing out to connect with clouds. Events triggered by individuals, smoke performances, public reactions and variable forms of the work all lead to the meet with contingency. Later when Daniel presented his work, he referred to a huge number of online pictures in which the form of his work together with composition, color and narration endowed by communication made its message eternal with the help of communication effect of the Internet. Placing the picture inside a gallery hall for exhibition is reproduction or archaeology by new media, sparking further reflection upon existence and emptiness, existence and time, existence and media.
What have artists created? What are artists adapting to or facing as challenges in mobile concepts and media overlapping?
By Li Zhenhua
DANIEL KNORR
1968 Born in Bucharest, Romania.Lives and works in Berlin, Germany, and CN（Hong Kong）
AWARDS
2012 Kunstpreis der Böttcherstraße in Bremen, Kunsthalle Bremen, DE
SOLO EXHIBITIONS (selection)
2022 Pilevneli Gallery, Istanbul
Galerie Rüdiger Schöttle, München
Galeria Fonti, Naples
2021 Daniel Knorr, IKOB - Museum of Contemporary Art, Eupen, BEL
Daniel Knorr, PAM- Pingshan Art Museum, Shenzhen, CN
2020 Daniel Knorr - We Make it Happen, Kunsthalle Tübingen, Tübingen, DE
Canvas Sculptures, Mangrove Gallery, Shenzhen, CN
Canvas Sculptures, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Wien, AUT
2019Laundry, Art Basel Unlimited, Galerie nächst St. Stephan Rosemarie Schwarzwälder / Meyer Riegger, Basel, CH
Dip in the Past, Meyer Riegger, Berlin, DE
Calligraphic Wig, Chung King Mansion, Hong Kong, CN
2018 Back to the Basics – Daniel Knorr: Artist Book, Oi! Street Art Space, Hong Kong, CN
2017Navel of the World, Art Basel Miami Beach, The Bass Museum of Art, Miami, U.S.
Reduce Speed Now, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, AT
Daniel Knorr. Die Frau meines Lebens liebt mich noch nicht, Pinakothek der Moderne, Munich, DE
Höhen der Tiefen, Meyer Riegger, Karlsruhe, DE
2016 Solo –Bunker, abc Berlin, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Berlin, DE
State of Mind, Manière Noire, Berlin, DE
2015 Vieni Vidi Napoli, Galleria Fonti, Naples, IT
Pietra della Rinascita, GAMeC, Bergamo, IT
2014 Lunarium, Galerie nächst St. Stephan, Vienna, AT
2013 Depression Elevations, Kayne Griffin Corcoran Gallery, Los Angeles, U.S,
Vulkanstr., Galleria Fonti, Naples, IT
Instant Community, tranzit.ro/cluj, Cluj, RO
2012 Piggy Bank, with Coate Goale, Salonul de Proiecte, Bucharest, RO
Explosion, Kunsthalle Vienna, Karlsplatz, Vienna, AT
Official Fire, Arnsberg Art Association, Arnsberg, DE
2011 Dead Letter Office, Galerie nächst St. Stephan, Vienna, AT
M, eine Stadt sucht ihren Mörder, Lothringer_13_Halle, Munich, DE
Limits of Jurisdiction, Romanian Cultural Institute Stockholm and Färgfabriken, Stockholm, SE
2010 Family Jewels, Kunstverein Arnsberg, Arnsberg, DE
Urlo, Galleria Fonti, Naples, IT
2009 Led R. Nanirok, Kunsthalle Basel, Basel, CH
Awake Asleep, Museum of Modern Art, Warsaw, PL
Block, Artspace, Auckland, NZ
2008 Scherben bringen Glück, Kunsthalle Fridericianum, Kassel, DE
2007 The Way Politics Influence Art and Vice Versa, Fondazione March, Padova, IT
Awake Asleep, Borges Libreria, Guangzhou; Fei Contemporary Art Center, Shanghai; Space e6, Shenzen, CN
1 Year Warranty, Skulpturenpark Berlin Mitte, public space, Berlin, DE
2006 ¡Extranjero ven a votar!, Studio Protocol, Cluj-Napoca, RO
2005 European Influenza, Romanian Pavilion, 51st Venice Biennale, Venice, IT
GROUP SHOWS (selection)
2021 The world reglitterized, Haus der Kunst, München
Miriam Cahn, Enzo Cucchi, Nevin Aladag, Daniel Knorr, Mangrove Gallery, Shenzhen
The Night will drive a heart, Contemporary Art Museum, Wroclaw
Pilevneli x König, Kaplankaya
The 4th Mediterranean Biennale, Haifa
Cosi fan tutti, Collezione Ernesto Esposito, Villa Campolieto, Ercolano
Other Voices, Other Rooms, Police Station, Zürich
MISA, Messe in St. Agnes, Berlin
All Eyes, Akzo Nobel Art Foundation, Amsterdam, NL
2020 Remix 2020. Die Sammlung neu sehen, Kunsthalle Bremen, Bremen, DE
2019 Collection LBBW (Landesbank Baden-Württemberg), art berlin, Berlin, DE
Words Are Very Unnecessary, group exhibition on the occasion of the inauguration of the new building,
Arter, Istanbul, TR
Artists & Agents: Performance Art and Secret Services, HMKV, MedienKunstVerein, Dortmund, DE
Mask. The Art of Transformation, Kunstmuseum Bonn, Bonn, DE
Past and Recent Stories of the Romanian Avant-Garde, Espace Niemeyer, Paris, FR
2018 Neuer Norden Zürich – Public Art Zurich, CH
Germany Is Not an Island. Acquisitions 2012–2016, Bundeskunsthalle, Bonn, DE
Rechts, Haus am Lützowplatz, Berlin, DE
Just So Stories 1978 I 2018, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, AT
Møenlight Sonata - Homage to the Starry Sky of Møn, Kunsthal 44 Moen, Askeby, DK
Shōzō Shimamoto in Conversation with..., Galleria Fonti, Naples, IT
PUBLIC COMMISSIONS
2017Bonhomme Universe, public sculpture in Miami Beach, commissioned by Fortune International Developers and Duke De Meuron, U.S.
Bonhomme, public sculpture in Hannover, commissioned by Kestner Gesellschaft, DE
2013One Meter Cube of Freedom, public sculpture in Rome, IT, commissioned by Istituto Svizzero di Roma, Rome, IT, and Maxim Gorki Theater, Berlin, DE (ongoing)
2013Pietra della Rinascita, public sculpture in Bergamo, IT, commissioned by the city of Bergamo and GAMeC – Galleria d'Arte Moderna e Contemporanea di Bergamo, IT
COLLECTIONS
Belvedere 21, Vienna, AT
Collection GAMeC, Bergamo, IT
Folkwang Museum, Essen, DE
Kunsthalle Bremen, Bremen, DE
Kunstmuseum Bonn (KiCo Collection), Bonn, DE
Lenbachhaus, Munich, DE
Migros Museum of Contemporary Art, Zurich, CH
Museum im Stasi-Bunker, Leipzig, DE
Museum of Modern Art, Warsaw, PL
M HKA, Museum of Contemporary Art Antwerp, Antwerp, BE
Pinakothek der Moderne, Munich, DE
LBBW Collection, Stuttgart, DE
ARTGAL Inc, Tavernier, Florida, U.S.
Collezione Tullio Leggeri, ALT Museum, Bergamo, IT
La collection Samuel-Weis d'art contemporain, Mulhouse, FR
Die Kunstsammlung der Erste Group and ERSTE Stiftung, Vienna, AT
The Lune Rouge Collection, Ibiza, ES
Mezzanin Stiftung für Kunst, Schaan, LI
Migros Museum of Contemporary Art, Zurich, CH
The Nancy A. Nasher und David J. Haemisegger Collection of Contemporary Art, Dallas, Texas, US
Kienbaum Collection, Gummersbach, DE
Contemporary Art CollectiOn of the Federal Republic of Germany, DE
Vehbi Koç Foundation, Istanbul, TR
Pohl Collection, Marburg, DE
Collezione Ernesto Esposito, Naples, IT
Akzo Nobel Art Foundation, Amsterdam, NL
Li Zhenhua
Born in Beijing in 1975, Li Zhenhua now works in Zurich and Berlin.
Active in the field of contemporary art since 1996, his practices mainly include curation, art creation and project management. Currently Working as the curator of Film at Art Basel Hong Kong (since 2014), Mr. Li is also the nominator of Sommerakademie Paul Klee Program and the Prix Pictet in Switzerland. He was a member of the international advisory board for the exhibition “Digital Revolution” at the Barbican Centre in the UK in 2014 and for SymbioticA in Australia in 2015. Besides, he also served as a consultant for Hong Kong Ticketflap in 2015. Li Zhenhua has presided over the compilation of the artist's personal publications, including Yan Lei: What I Like to Do, Feng Mengbo: Journey to the West, Hu Jieming: A Hundred Years in One Minute and Yang Fudong: Dawn Mist, Separation Faith. His art reviews were published in his own book Text.
He's won multiple awards including Curator of the Year (2015) from Art Power 100, Curator of the Year(2015) by TANC Asia Prize, as well as the Innovation Prize for Contemporary in the 3rd Ural Industrial Biennial of Contemporary Art (2015) in Russia.
About PAM
Situated in the north district of Pingshan Culture Quarter, The Pingshan Art Museum (PAM) is an important public cultural institution in Shenzhen. It is a major force for resource fusion from conventional public art museums and private art institutions, fueled by its institutional innovation. Aiming to build an art museum that is “positive and cool”, PAM actively explores professional development with high-quality in an international scope. The Pingshan Art Museum dedicates to be a new landmark in our time by bringing fresh and diverse cultural enjoyment and experiences to its citizens and celebrating vitality, inclusion, creativity, and interaction.
统筹｜唐煜婷
编排｜李超群
审校｜刘晓都 李耀