限量早鸟丨“布鲁斯·瑙曼：OK OK OK”——观念艺术先锋国内首次大规模机构个展
“布鲁斯·瑙曼为艺术开启了如此之多的可能性……如果你对语言感兴趣，你绕不开布鲁斯·瑙曼。如果你对录像感兴趣，你绕不开布鲁斯·瑙曼，他是最早使用便携式摄像机进行创作的艺术家之一；如果你对新技术感兴趣，你同样绕不开布鲁斯·瑙曼，即使他不是史上第一人，至少也是先行者。早在“行为艺术”一词出现之前，瑙曼就洞悉行为艺术之道了。”
—— 艺术史学家 凯西·哈尔布莱希
布鲁斯·瑙曼：OK OK OK
2022年3月11日—2022年6月12日
木木美术馆（钱粮胡同馆）
票务信息
▼
全价票：¥150
早鸟票：¥80
限量销售购票请点击下方小程序卡片
▼
木木美术馆策展人：王宗孚，木木美术馆艺术总监兼首席策展人泰特美术馆策展人：安德烈·利索尼，泰特现代美术馆国际艺术部（影像）前高级策展人；尼古拉斯·塞罗塔，泰特美术馆前馆长；凯蒂·温，泰特现代美术馆国际艺术部助理策展人
2022年3月11日—6月12日，木木美术馆将与伦敦泰特现代美术馆和阿姆斯特丹市立博物馆合作，呈现美国艺术家布鲁斯·瑙曼在国内的首次大规模机构个展。不同于其以往的研究型展览，本次展览在回溯艺术家逾50年艺术实践的同时，着重探讨和梳理了他的行为表演艺术、霓虹灯“标识”以及基于声音和移动影像艺术的创作。
布鲁斯·瑙曼在泰特美术馆涡轮大厅
Bruce Nauman at Tate Turbine Hall
© 2014 Phaidon Press Limited本次展览汇集了瑙曼艺术生涯的关键作品，展现了他极具实验性的艺术实践。其中，展览特别呈现了瑙曼的泰特涡轮大厅委任项目《原材料》（2004）。这件作品选取了22条先前作品中的声音片段，作为对其此前四十多年艺术生涯的声音性回顾。
1984年霓虹灯管和透明玻璃管悬挂于支架图片由Sperone Westwater画廊（纽约）惠允© 2022 Bruce Nauman / Artists Rights Society (ARS)
瑙曼曾解释道：“如果我是一个艺术家，并且我在工作室里，那么无论我在工作室里做了什么，都一定是艺术。”
布鲁斯·瑙曼
《人类学／社会学（旋转的兰德）》
1992年
录像，3个投影，6台显示器，彩色，有声
循环播放
图片由Sperone Westwater画廊（纽约）惠允
© 2022 Bruce Nauman / Artists Rights Society (ARS)
展览还将展出来自国际上多个美术馆收藏的重要作品，深入探究瑙曼对艺术家工作室这一主题的关注和思考。《绘制工作室II色彩变化与图像跳跃版（约翰·凯奇没戏）》（2001）由7个大型录像投影组成，艺术家在数周的时间里使用红外线摄像机从不同的角度记录了他新墨西哥州工作室的夜间场景。而《小丑酷刑》（1987）和《人类学／社会学（旋转的兰德）》（1992）则挑战了惯常的观展体验，镜头中的人物直接面向观者甚至形成某种对峙的局面。
布鲁斯·瑙曼
《小丑酷刑》
1987年
录像，2个投影，4台显示器，彩色，有声
循环播放
芝加哥艺术博物馆馆藏
图片由Sperone Westwater画廊（纽约）惠允© 2022 Bruce Nauman / Artists Rights Society (ARS)《以夸张的姿势围绕一个正方形的边缘行走》（1967-8）、《以对立平衡的姿势行走》（1968）和《角落弹起1号》（1968）作为瑙曼最早期的作品，创作于他从加利福尼亚大学戴维斯分校的艺术硕士项目毕业后不久。
布鲁斯·瑙曼
《以夸张的姿势围绕一个正方形的边缘行走》
1967至1968年
影片，16毫米胶片，转为了录像，投影，黑白，有声
图片由Sperone Westwater画廊（纽约）惠允
© 2022 Bruce Nauman / Artists Rights Society (ARS)
这些作品反映了艺术家对身体的运用——他视之为一种重要的艺术媒介，以及1960年代通过影片（其后，录像）来记录行为表演艺术的日益普及。
布鲁斯·瑙曼
《角落弹起1号》
1968年
录像，显示器，黑白，有声
60分钟（循环播放）
图片由Sperone Westwater画廊（纽约）惠允
© 2022 Bruce Nauman / Artists Rights Society (ARS)
本次展览还将呈现瑙曼极具影响力的霓虹灯“标识”，它们展现了瑙曼如何运用广告宣传和消费主义的视觉语言来探索语言和光的潜质。
霓虹灯管和透明玻璃管悬挂于支架
图片由Sperone Westwater画廊（纽约）惠允© 2022 Bruce Nauman / Artists Rights Society (ARS)《真正的艺术家通过揭示神秘的真理来帮助世界[窗户或墙面标识]》等作品的灵感源自悬挂于艺术家旧金山工作室（曾是一间杂货店）的啤酒广告。《真正的艺术家》也是瑙曼第一件结合了文本的霓虹灯作品。他解释道：“我萌生了一个想法，我可以创作一些会消失的艺术——看起来不像艺术的艺术。在这种情况下，你无法发现它的存在，直到你有意识地去关注它。”
霓虹灯管和透明玻璃管悬挂于支架
图片由Sperone Westwater画廊（纽约）惠允© 2022 Bruce Nauman / Artists Rights Society (ARS)此外，展览中两件重要的作品《在即时和录制监控下走过角落》（1970）和《光线变化的带房间的走廊》（1971）揭示了瑙曼对观众参与和行为与心理状态和物理空间之间关系的兴趣。
墙板、摄像机、2台显示器
图片由Sperone Westwater画廊（纽约）惠允© 2022 Bruce Nauman / Artists Rights Society (ARS)《在即时和录制监控下走过角落》（1970）要求观者不仅仅观看，也需参与其中——监控录像记录下了他们体验作品的过程。
木质结构，2个灯泡和计时器
图片由Sperone Westwater画廊（纽约）惠允© 2022 Bruce Nauman / Artists Rights Society (ARS)创作于一年之后的《光线变化的带房间的走廊》（1971）由一条长长的走廊和两间侧室构成。随着观众穿过逼仄的通道，房间内的灯光间歇性地闪烁着。艺术家的诸多“走廊”作品均受到他的一个梦境的启发，它们试图探索物理空间对人们及其行为的影响，尤其是艺术家所建构的环境如何引起观者的不适并改变他们的情绪。
展览由伦敦泰特现代美术馆和阿姆斯特丹市立博物馆，与北京木木美术馆和米兰倍耐力Hangar Bicocca基金会合作组织。
木木美术馆艺术总监王宗孚寄语：
“通常情况下，在策划展览时，“舒适”可能是2022年美术馆行业中的一个关键词。然而，这种方式并不总是能反映出多层面的，那些时常与幽默、困惑和魅惑等极端情感相结合的人类体验。
我非常荣幸地宣布木木美术馆（钱粮胡同馆）将迎来2022年的开年首展——“布鲁斯·瑙曼：OK OK OK”。这是艺术家布鲁斯·瑙曼在中国的第一个美术馆个展。布鲁斯·瑙曼是艺术发展史上至关重要的人物，他不仅创造了新的艺术门类，而且以其充满精神品质的创作实践，启发了数代中国和国际上的艺术家。从他早期的行为表演作品到他的走廊装置，瑙曼提醒着我们，心灵和身体是通过情感紧密交织在一起的，同时，被唤起的瞬间失控感也是人类的一个重要体验。我们很高兴能与泰特美术馆以及阿姆斯特丹市立博物馆等合作机构一起，将瑙曼五十年来的先锋性实践带到北京。”
泰特现代美术馆馆长弗朗西斯·莫里斯寄语：
“布鲁斯·瑙曼极具实验性的艺术实践总是出乎我们的意料。在艺术家逾五十年的艺术生涯中，他的作品得以呈现在不同的语境和多元的观众群体面前，并持续至今。瑙曼早已被公认为当今时代最具创新精神和影响力的艺术家之一，从1960年代晚期他在工作室进行的早期表演和实验，到20世纪末、21世纪初对图像捕捉技术的运用。
此次在木木美术馆举办的展览将有幸成为瑙曼在世界这一地区的首次美术馆个展。我非常高兴泰特能够促成他的作品在该地的首次展出，其中包括了来自英国国家收藏以及众多其他美术馆和私人藏家的藏品。我非常期待世界其他地区的新的观众能够欣赏到这些迷人的作品。”
关于艺术家
▼布鲁斯·瑙曼1941年出生于美国印第安纳州，自1979年至今生活和工作于美国新墨西哥州。他本科就读于威斯康星大学，主修数学、物理和艺术课程，并于1966年获得加州大学戴维斯分校艺术硕士学位。1972年，瑙曼在洛杉矶郡立艺术博物馆和纽约惠特尼美术馆举办了其艺术生涯中的第一个回顾展。1994年，明尼阿波利斯沃克艺术中心和华盛顿哥伦比亚特区赫施霍恩博物馆与雕塑园共同策划了艺术家的大型回顾展，并伴随展览出版了艺术家作品总录。瑙曼曾在国际权威机构举办过众多重要的展览，其中包括：伦敦泰特现代美术馆、纽约现代艺术博物馆、柏林汉堡车站美术馆、柏林德意志古根海姆美术馆、伦敦海沃德美术馆、巴黎蓬皮杜中心、伦敦白教堂美术馆和巴塞尔美术馆。他参加过五届卡塞尔文献展，他的作品曾至少六次在威尼斯双年展展出，并两次被授予金狮奖。木木商店设计全新展览衍生品
敬请期待
▼
BRUCE NAUMAN: OK OK OK
11 March 2022 – 12 June 2022
M WOODS Hutong
Curated at M WOODS by Victor Wang, Artistic Directorand Chief Curator
Curated at Tate Modern by Andrea Lissoni, formerSenior Curator, International Art (Film), Tate Modern; Nicholas Serota, formerDirector, Tate, and Katy Wan, Assistant Curator, International Art, Tate Modern.
In collaboration with Tate Modern, London and the Stedelijk Museum,Amsterdam, M WOODS Museum presents China’s firstand most comprehensive overview of the work of the American artist Bruce Nauman.The exhibition features work from fifty years of Nauman’s career, and departs from previous surveys in its experiential approach to display and its focus on Nauman’s interest in performance art,neon, sound, and the moving image.
Bringing together key works that call attention to Nauman’s highly innovative approach to making art, the exhibition will also include aspecial presentation of Nauman’s 2004 Tate Turbine Hall commission Raw Materials, which functions as a sound retrospective, bringing together 22 audio excerpts from works spanning a nearly forty year period.
“[If] I was an artist and I was in the studio”, Nauman explained, “then whatever I was doing inthe studio must be art.” The exhibition will also present important works from museum collections internationally that explore Nauman’s preoccupation with the theme of the artist’s studio. MAPPING THE STUDIO II with color shift, flip,flop & flip/flop (Fat Chance John Cage) (2001) features sevenlarge video projections presenting different views of Nauman’s studio in New Mexico, filmed at night with an infrared camera over a period of several weeks.While MAPPING THE STUDIO II focuses on theartist’s studio, video installations like Clown Torture (1987) and Anthro/Socio(Rinde Spinning) (1992) challenge the conventional gallery experience,confronting and at times directly engaging the viewer in the actions taking place.
Reflecting both Nauman’s use of the body as a primary artistic medium and the increasing use of film (and later, video) as an important tool for the documentation of performance art in the 1960s, Walking in an Exaggerated Manner Around the Perimeter of a Square (1967–8), Walk with Contrapposto (1968), and Bouncing inthe Corner, No. 1 (1968) are among Nauman’s earliest works,made following his graduate studies in Fine Art at the University of California, Davis.
The exhibition also features Nauman’s influential neonsculptures that explore the ways in which art can occupy a space between advertising and consumerism, and the potential of language and light. Works such as The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign)(1967) were inspired by a commercial beer sign which hung in his San Francisco studio, a former grocery store.The True Artist is also the first of Nauman’s neonsto incorporate text. Nauman explained: “I had an idea that I could make art that would kind of disappear – an art that was supposed to not quite look like art. You wouldn’t really notice it until you paid attention.”
Two important works, Going Around the Corner Piece with Live and Taped Monitors (1970) and Changing Light Corridor with Rooms (1971), both reveal the ways in which, for Nauman, behavioural attitudes and audience participation are related to psychological states and spaces. When encountering Going Around the Corner Piece, the visitor is required to be both a viewer and a participant, as a CCTV camera records the audience as they activate the work. Built a year later in his Los Angeles studio, Changing Light Corridor with Rooms consists of a long-walledcorridor with two side rooms (one rectangular, the other triangular) intermittently flashing lights as the viewer walks through the constricted space. A number of these corridors evidence the artist’s concern with the effect physical spaces can have on people and theirbehaviour, especially the way that constructed environments can create feelings of unease and change an individual’s mood.
Exhibition organised by Tate Modern, London and Stedelijk Museum Amsterdam, in collaboration with M WOODS,Beijing and Pirelli HangarBicocca, Milan
Message from Victor Wang, Artistic Director, M WOODS:
'Today, museums and galleries are frequently tempted to adopt a ‘comfortable’ approach to their exhibition programming. However, this strategy often produces shows that fail to fully reflect the wide spectrum of human experience, with its sometimes uncomfortable extremes of humour, confusion, and desire.
For M WOODS Hutong’s opening show of 2022, we are delighted to present China’s first solo museum exhibition of the work of the American artist Bruce Nauman, whose ground-breaking approach and psychologically charged practice have not only created new modes of artistic expression, but also inspired several generations of artists, Chinese and international. From his early performance pieces to his corridor installation works, Nauman’s work is neither safe nor comfortable: it reminds us not only that mind and body are intrinsically intertwined through our emotions, but also that a momentary loss of control is an important human sensation.
We are thrilled to be working alongside our institutional partners, Tate Modern, London, and the Stedelijk Museum, Amsterdam, to bring experiential work from fifty years of Nauman’s career to Beijing. '
About the Artist▼
Bruce Nauman was born in Fort Wayne, Indiana, in 1941, and has lived and worked in New Mexico since 1979. After undergraduate studies in mathematics, physics and art at the University of Wisconsin-Madison, he graduated with a Master of Fine Arts from the University of California, Davis, in 1966. In 1972, at the age of thirty-one, Nauman had his first retrospective exhibition at the Los Angeles County Museum of Art and the Whitney Museum of American Art, New York. In 1994 a large retrospective of his work and accompanied by the publication of a catalogue raisonné, was organised by the Walker Art Center, Minneapolis, and the Hirshhorn Museum and Sculpture Garden, Washington, DC. Over the course of his artistic career, Nauman has held major museum shows in prestigious institutions internationally including Tate Modern, the Museum of Modern Art New York, Hamburger Bahnhof, Deutsche Guggenheim Berlin, Hayward Gallery, Centre Pompidou, Whitechapel Gallery and Kunstmuseum Basel. He has participated in five editions of the major quinquennial exhibition Documenta (1968, 1972, 1977, 1982 and 1992) and has presented work in the main exhibition of the Venice Biennale at least six times, at which he was awarded the Golden Lion twice.
布鲁斯·瑙曼：OK OK OK
2022年3月11日—2022年6月12日
木木美术馆（钱粮胡同馆）
票务信息
▼
全价票：¥150
早鸟票：¥80
限量销售购票请点击下方小程序卡片
▼
木木美术馆策展人：王宗孚，木木美术馆艺术总监兼首席策展人泰特美术馆策展人：安德烈·利索尼，泰特现代美术馆国际艺术部（影像）前高级策展人；尼古拉斯·塞罗塔，泰特美术馆前馆长；凯蒂·温，泰特现代美术馆国际艺术部助理策展人
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