The Metamorphosis

Curated by Raul Zamudio
January 16-February 28, 2010
The Other Gallery
Shanghai, China
 
Artists:
1.Carlos Amorales (Netherlands/Mexico)
2.Oreet Ashery (UK)
3.Bill Berry (Thailand)
4.Erika Harrsch (Mexico)
5.Emma McCagg (USA)
6.Gabriel de la entina)
11.Svai & Paul Stanikas (France/Lithuania)
12.Jorge Tacla (Chile)
13.Wojtek Ulrich, (Poland)
 
The Metamorphosis is possibly Franz Kafka’s most well known literary work. Published in 1915,its plot dovetails on a travelling salesman named Gregor Samsa who wakes up one day in bed only to discover he has been transformed into a bug. Much has been written about Kafka’s enigmatic, proto-existential story including it being a metaphor of individual alienation in a burgeoning industrial society, as well as encapsulating the collective anxiety felt from World War I where new and efficient modes of mass killing emerged.
 
The exhibition titled The Metamorphosis uses as touchstone Kafka’s narrative subtext but updates it into a twenty-first century context in addressing, among other things, the effects of living in a protean, albeit unstable and polluted environment; an ever shifting cultural demographic triggered by globalization; as well as contemporary notions of identity as malleable and fluid rather than fixed and stable.
 
The artists in The Metamorphosis engage these themes in unique ways including Oreet Ashery and her masquerading as orthodox Hasidim; or Erika Harrsch’s conflation of a butterfly and female genitalia; or Gabriel de la Mora’s self-portraits as canine/anthropomorphic creatures rendered in human hair. In each of theses instances, and generally in works throughout the exhibition, metamorphosis becomes a framework from which to explore history, politics, religion, science, sexuality, and an array of topical themes through a plethora of media including painting, works-on-paper, sculpture, photography, video, and installation. The Metamorphosis is an exhibition of international artists that will inaugurate the Other Gallery’s new exhibition space in Shanghai . Through its global exhibition program, Other Gallery hopes to produce its own cultural and artistic metamorphosis in its host city by supporting and creating a space for the exploration of contemporary art by local, national, and international artists.               











“变形记”

策展人：劳尔•扎穆迪奥
2010年1月16日-2月28日
其他画廊
中国上海

参展艺术家：
1.卡洛斯•阿莫拉雷斯（荷兰/墨西哥）
2.奥里特•阿瑟瑞（英国）
3. 比尔•贝里（泰国）
4.艾丽卡•哈利舍 （墨西哥）
5.艾玛•麦克凯格 （美国）
6.加布里埃尔•德拉莫拉（墨西哥)
7.克莱文森•德奥利维拉（巴西）
8.瑞科•萨克内（西班牙）
9.玄武夸（韩国）
10.米格尔•安吉尔•雷奥斯（阿根廷）
11.萨维与保罗•斯坦尼卡斯（法国/立陶宛）
12.豪尔盖•塔克勒（智利）
13.沃基特克•乌尔里克（波兰）

卡夫卡（Franz Kafka）最著名的文学作品《变形记》（出版于1915年），讲述了一位旅行推销员格里高尔•萨姆沙在某天醒来的时候突然发现自己变成了一只甲虫。之后，这部怪诞的原存在主义作品引发了诸多评论，比如将其比喻为资本主义工业社会中的个体异化，以及一战后，随着更新、更大规模的屠杀方式的出现而积淀下来的集体性焦虑。
本次展览也定名为“变形记”，借用了卡夫卡的叙事潜台词，但是却将这块试金石带入了21世纪的语境之中，表达了变化无常的污浊环境对生存的影响、全球化带来的变动不居的文化人口状况，以及变化的、流动的、破碎的、不稳定的、不统一的身份认同引起的心理不安。
“变形记”展览上的艺术家所直接面对的正是这些主题，比如易装成正统哈西迪教徒的奥里特·阿瑟瑞。或者艾丽卡·哈利舍的女性生殖器和蝴蝶的拼接；以及加布里埃尔•德拉莫拉的作品——用头发把自己画成一只人格化的狗。本次展览的作品通过多种媒介（包括绘画、纸本作品、雕塑、摄影、影像和装置）表达了关乎历史、政治、宗教、科学、性和一系列当下主题的变形观念。“变形记”是一次国际性的展览，来自世界各地的艺术家将开启上海其他画廊这个新的展览空间。其他画廊希望通过国际性的展览项目，支持当地、以及国内外当代艺术家的探索，并为他们的活动创造空间，从而在展览举办城市促发自己的文化与艺术嬗变。













策展人：劳尔•扎穆迪奥




Raul Zamudio is an independent curator, art critic, and writer who was Director of Exhibitions at White Box; NY , NY and Curator-at-Large, the:artist:network, NY , NY . He has curated more than 60 exhibitions in the Americas , Europe, and Asia . His recent exhibitions include co-curator, 2009 Beijing 798 Biennale; co-curator, 2008 Media_City Seoul International Media Art Biennale; artistic director, 2008 Yeosu International Contemporary Art Festival; curator, “The Passengers” 2006 Biennale Independents, Liverpool Biennale;  and co-curator, "Poles Apart, Poles Together," 2005 Venice Biennale. He has authored more than 200 texts published in books, museum and gallery exhibition catalogs, and magazines and journals of which many have been translated into Spanish, Italian, Portuguese, German, Polish, Korean, Japanese, and Chinese. He is Contributing Editor, Art Nexus, Correspondent Flash Art, and other texts have been published in Contemporary, TRANS, Zingmagazine, Estilo, Journal of the West, PART, Tema Celeste, Acrylic, LatinArt, Art in Culture, EYEBALL, [Art Notes], Bridge, and   FRAMEWORK: The Finnish Art Review.




劳尔•扎穆迪奥，独立策展人、艺术批评家及作家，曾担任纽约白盒美术馆展览部主任、“Curator-at-Large”与纽约“artist:network”策展人。曾经在美国、欧洲和亚洲策划展览60余个。协助策划：“2009年北京798双年展”、“2008年首尔国际媒体艺术双年展”、2005年威尼斯双年展之“相吸相斥”；“2008丽水国际当代艺术节”艺术总监；策划：“乘客，2006年利物浦双年展”。曾在书籍、展览图录、杂志、期刊发表文章200余篇，其中许多文章已被翻译成西班牙文、英文、意大利文、葡萄牙文、德文、波兰文、韩文、日文与中文。他也是《艺术连接》（Art Nexus）特约编辑、《艺术快讯》记者。另有文章收录在以下出版物中：《当代》、《TRANS》、《Zingmagazine》、《风格》、《西方期刊》、《部分》、《Tema Celeste》、《丙烯》、《拉丁艺术》、《文化中的艺术》、《眼球》（艺术评论）、《桥》与《FRAMEWORK: The Finnish Art Review》。








The Meta, Metamorphosis

The Metamorphosis is possibly Franz Kafka’s most well known literary work. Published in 1915, the plot dovetails around a travelling salesman named Gregor Samsa who wakes up one day only to discover he has been transformed into an “insect.” There is a point of contention, however, as to what kind of creature he became. The Metamorphosis was written in Middle German, and ungeziefer is the word used to describe Samsa’s non-human transformation. Although the English translation is vermin and could broadly mean rodent as well as bug, the early twentieth-century source defines ungeziefer as “unclean animal not suitable for sacrifice.” Kafka thought the use of the word insect, which is ubiquitous in English versions of the book, would foreclose what the human imagination may concoct as to the entity referred to that gives The Metamorphosis its title. For its author wanted Samsa to morph into an indescribable bug without a distinct species, consequently allowing the reader to envision the horror as to what the protagonist turned into upon awakening?
At the story’s onset, the reader is immediately made aware of Samsa’s predicament; he awakes and tries to go back to sleep, but cannot do so because his newly configured body forces him to remain flat on his back all the while encumbered and mortified by the sight of his gruesome “little legs in the air.” Yet by using this open ended trope where liberty is given to the reader to individually visualize the resulting metamorphosis, an intimacy is created as the image of Samsa’s abject state becomes internalized. Another dimension to the story is the purported grander themes that run through Kafka’s masterpiece. Some have recognized it as being a proto-existential metaphor of individual alienation in a burgeoning industrial society, as well as encapsulating the collective anxiety felt from World War I with its newer and more efficient forms of mass killing. The former is underscored in Samsa’s rather banal occupation as salesman and the attendant, bureaucratic machinations germane to it. There is also much discussion as to the monstrous shape-shifting central to the narrative: does the mortifying mutation of human to bug pander to the fear of genetic aberration resulting from the use of chemical warfare?
The exhibition titled The Metamorphosis uses as touchstone Kafka’s myriad subtext; especially the amorphous nature as to what Samsa turned into. If the original text is unclear regarding what kind of creature Samsa became—be it bug, insect, vermin or whatever the reader imagines—then one could use this ambiguity as narrative linchpin. The transformative element of The Metamorphosis underscores how its meaning can be varied as are the people who read it. Everybody, as Kafka’s story alludes, has their own private hell that he or she is afraid of spending an eternity in. When viewed from this perspective, Kafka’s novella is also undoubtedly about the other; about waking up one day and discovering one has become what one finds disdainful, be it animal or human. It is in this sense that Kafka’s brilliant story transcends its historical context. This is also true for Kafka’s other literary works such as The Trial (1925), for example. This novel is not only about an individual being prosecuted for some unknown crime by an anonymous authority gone amok, but it is also a poetic, albeit dark commentary on societal abuse of power within Karka’s historical milieu that nonetheless remains topical today. The exhibition titled The Metamorphosis updates the Kafkaesque nightmare into a contemporary context by addressing, among other things, the effects of living in a protean, though unstable and polluted environment; an ever shifting cultural demographic triggered by globalization; as well as the psychological unease in acknowledging identity as malleable, fluid and fragmented rather than fixed, stable and unified. The landscape, for example, is increasingly under metamorphosis at the hands of abusive industries and technology resulting in potentially dire consequences for all; and this also holds true for accelerating heterogeneous geo-cultural spaces ostensibly altered via migration consequently rearranging notions of nationalism, ethnicity, and even the self as well. There are also questions of physical metamorphosis of humans via that advancement of science and medical technology that has allowed reconfiguration of body and ultimately of the psyche too, if one ascribes to Cartesian mind/body dialectic.

The artists in the exhibition engage the thematic of metamorphosis in unique and idiosyncratic ways including Oreet Ashery and her masquerading as an orthodox Hasidim. Two of her related works underscore this: one is a series of portraits titled Self Portrait as Marcus Fischer (2000) where Ashery is performing a kind of transvestitism that broaches not only gender categories, but also cultural and religious ones. The portraits are intimate as they are revelatory in their nonchalant demeanor: Marcus is seen smoking a cigarette while sitting casually in a chair; in another picture he is facing opposite the viewer exposing his bareback; in another photograph he is portrayed with a rather strange, buzzed haircut that has been manicured into symbols including the Star of David. The most visually arresting component to this series, however, is when Marcus looks bewildered upon discovering what he holds in his hand: a female breast protruding through his starchy, white, buttoned-down shirt. In Dancing with Men (2003), which is a video work related to the photographs, Ashery has extended Marcus’ activities beyond the exhibition space and into the real world. For Ashery not only dons her alter ego, but also plays the role of ethnographer as we accompany her into Hasidic festivals in Israel where women and outsiders are prohibited from participating. Similarly addressing questions of the social construction of gender, but through a framework of nature rather than culture are the works of Erika Harrsch. Harrsch engages the theme of metamorphosis by conflating a butterfly with female genitalia. Her ongoing project consists of photographing butterflies and the genitalia of women who also originate from the areas native to the butterflies’ species. The work is, however, already charged with political subtext, but this becomes more apparent when the artist conflates the monarch butterfly with a Mexican woman’s sex while using the backdrop of the monarch’s migratory patterns across North America to Mexico. Questions of migration morph into issues around illegal immigration; the body, here signified via female genitalia, becomes the battle ground of patriarchal politics played out across the register of American xenophobia. The convergence of the anthropomorphic and zoomorphic is also intrinsic to Gabriel de la Mora’s renditions of canines on which he has graphed his head onto their bodies. But the signifiers that constitute his iconography are built up from human hair creating an elegant, yet subversive commentary on the human need to anthropomorphize animals.
The dialectic of human and beast appears in other works as well yet can take more visceral articulations, as is the case with Miguel Angel Rios and his single-channel video piece titled Matambre (2008). This work consists of an individual dancer who incorporates a myriad of dance traditions including Spanish Flamenco, Argentine dance, and the traditional weaponry of the Argentine gaucho called boleador. The boleador is a type of weapon used in a sling-like fashion. It consists of steel balls that hang at the end of a rope, which is then swung and released. Rios has reworked this very deadly tool by replacing the steel balls with chunks of meat. As the dancer swings these around while violently kicking his heels in staccato tempo on the floor, dogs attack him in a frenzied attempt to eat the meat; metamorphosis, in this instance, concerns the poetic reciprocity between rhythmic dancer and frenetic state of the carnivorous canines that cohere into a kind of kinetic, sculptural gestalt. The canine and anthropomorphism are also a leitmotif in Carlos Amorales’ Manimal (2005) as well. Amorales’ high definition, black and white animation is set in an apocalyptic mise-en-scene where wolves or dogs seem to have taken over the metropolis; yet the only remnants of human activity are silhouetted jets that ominously taxi the tarmac like mechanical apparitions.
The phantasmal is also intrinsic to Bill Berry’s Self Portrait (2006); a work simply consisting of a cast of the artist’s face stuffed into a sock; a contemporary memento mori with subtext to sadomasochism. Somatic metamorphosis is what is also articulated in the paintings of Emma McCagg and the photographic work of Koh Sang Woo. The former consists of images of baby girls that have been transplanted onto promiscuous bodies of adults that bring to mind a plethora of anxieties about the eroticization of children. Koh, on the other hand, investigates the social codes of beauty and death, of Eros and Thanatos, in his lush, large-scale pictures. Other artists approach the fragmented body via history as is the case with Cleverson de Oliveira’s citation of Man Ray’s Tears (1930-32) and Georges Bataille’s banned text Histoire de l'oeil [Story of the Eye] (1928). History is also the formal and conceptual ground zero of Svai and Paul Stanikas’ installation titled Magda Goebells, Queen of Bones (2009). Existing somewhere between the archive, archaeology, the carnival, opera and the detective novel, Stanikas’ installation is a tour de force: wallpaper, fine line drawing, works-on-paper, sculpture and video all mesh into a breathtaking spin on the Goebells family whose matriarch was a female Nazi Saturn who devoured her children for the Fatherland. The revisiting of history has also been the sine qua non of the painter Jorge Tacla. His works recover historical trauma while universalizing the particular. His iconography is culled from media sources including photojournalism of bombed out cities ravaged by war or terrorism. There is, however, nothing transparent about his methodology: for Tacla empties the content of his beautiful cityscapes and presents us something akin to architectural phantasmagoria. In doing so, we are left with traumatic vistas brimming with the detritus of military, political and cultural conflict. The past is also intrinsic to Wojtek Ulrich’s three-channel video installation titled SCUM (2007). SCUM is a primal yet concomitantly futuristic work in which a lone protagonist wanders through a post-apocalyptic underground labyrinthine wasteland as he encounters its naked denizens: the infirmed, the tortured, and the victimized as well as the unknown, authoritarian perpetrators responsible for what appears to be total, systemic dehumanization.
The Metamorphosis uses as foil aspects of Franz Kafka’s story; but the exhibition not only mines Kafka’s work as it also draws from the author’s own conflicted biography, however subliminally it may appear in the tale of Gregor Samsa. That is to say, Kafka was a Czech in the Austro-Hungarian Empire; a speaker of German amongst his countrymen and a Jew amongst German-speakers; he was also skeptical of Judaism. Compounding these idiosyncrasies was his disdain for his menial and banal, bureaucratic vocation. In short, Kafka’s life was somewhat analogous to the narrative of his groundbreaking, modernist novella; a work of literature that will continue to speak to as anew; especially now as a new decade begins in the twenty first century, an era that without a doubt will undergo its own metamorphosis to a future of exceedingly existential uncertainty.




























变形的变形
卡夫卡最著名的文学作品《变形记》（出版于1915年），讲述了一位旅行推销员格里高尔•萨姆沙在某天醒来的时候突然发现自己变成了一只“昆虫”。当然，就他到底变成了一只什么样的昆虫还存在一些争论。《变形记》是在德国中部创作的，在原文中，作者把萨姆沙的非人变容称为“ungeziefer（害虫）”。尽管这个词被英译为“vermin（害虫）”，这个词既可以指啮齿动物（rodent），也可以指甲虫（bug）。20世纪早期的一些资料将“ungeziefer”定义为：一种不洁的、不适合作为祭品的动物（unclean animal not suitable for sacrifice）。卡夫卡认为，“昆虫（insect）”这个词（在英译本的《变形记》中，该词随处可见）能够避免人们的想象仅仅停留在那只虫子上，因为他所希望的那个生物是无法对其进行分门别类的、不可名状的一种东西，从而让读者想象主人公变容的可怖。
小说的开篇就展示了萨姆沙窘境：当他醒来的时候，想继续睡去，但突然发觉自己动身不得。因为他的身体已经变形，只能仰面躺在床上，看着自己“蹬空的小腿儿”那毛骨悚然的样子。卡夫卡用了这样一个开放式的比喻，让读者自己想象变形的样子，当萨姆沙的可悲状态的形象被内化的时候，读者就能切身体会到这种状态。关于这部小说的另外一个层面也就是通常对于卡夫卡这部杰作的一贯讨论，即认为它具有最初的存在主义特征，用虫子比喻资本主义工业社会中的个人异化，以及一战后，随着更新、更大规模的屠杀方式的出现而积淀下来的集体性焦虑。其中，存在主义的特征体现在作品主人公，这位旅行推销员的平凡职业上，以及这种职业令人想到的阴谋诡计。另外，作品的中心角色——那只异形——也引起了很多讨论：从人到甲虫的这种可怖变容与化学药品引起的对基因变异的恐惧相吻合。
本次展览也定名为“变形记”，将卡夫卡的潜台词用作了试金石，尤其是指萨姆沙变容的模糊性。如果说原文对于萨姆沙到底变成了什么——甲虫、昆虫、害虫，随读者的想象——含糊不清，那么，我们就能将这种模糊性作为叙事的契机。《变形记》的变形因素也在于不同读者对其意义的解读可谓是仁者见仁智者见智。就像卡夫卡所影射的那样，每个人都有自己所怕的终生难逃的地狱。如此说来，卡夫卡的小说毫无疑问也是关于他者的，也就是说醒来之后突然发现自己变得丑陋可鄙。因此，也正是在这个意义上，卡夫卡的这部精彩的小说超越了其历史语境。当然，卡夫卡的其他小说，比如《审判》（1925年）也是如此。这部小说不仅是讲一个人由于某种不知名的罪遭到了发疯的匿名权威的指控，而且也是一种诗意的，但却晦暗的评论，这种评论指向当时的权力滥用，而这种现象却一直延续至今。“变形记”展览将卡夫卡式的梦魇带入了当代语境之中，表达了变化无常的污浊环境对生存的影响、全球化带来的变动不居的文化人口状况，以及变化的、流动的、破碎的、不稳定的、不统一的身份认同引起的心理不安。比如环境由于工业和技术的无节制采用而变形，并威胁到了所有人的生存状态。同样，不断异质的地理文化空间也通过移民现象改变着，因此民族、种族，甚至个人的概念也发生了变化。另外，随着科学和医疗技术的进步，人类的身体也发生了物理性的变形，按照笛卡尔的心灵/身体辩证法来看，变形的不仅是身体，也是精神。
本次展览上的艺术家以其独特的方式展现了展览的变形主题，比如奥里特•阿瑟瑞将自己打扮成一个正统哈西迪教徒。她的两件相关作品就强调了这一点，其中的一件是名为《作为马科斯·费希尔的自画像》（2000）的系列肖像作品。其中，阿瑟瑞的易装不仅是逾越了性别的界限，也逾越了文化和宗教的界限。这些肖像作品所表现的人物都是冷漠的，能够给人一种私密的感觉：其中的一幅表现了吸着烟的马科斯随意地坐在椅子上。另一幅表现了他背对着观众，展示了他的秃后脑勺。还有一幅肖像摄影，其中他的头型非常古怪——修剪成了包括大卫王之星（the Star of David）在内的几个符号。在这个系列中，最引人注目的是表现马科斯迷惑不解的那幅，他手里托着一个从板正的白色带扣衬衫中露出的女性乳房。与这些摄影作品相关的一部名为《与男人共舞》（2003）的动态影像作品中，阿瑟瑞让马科斯的行动超出了展览空间，进入了真实的世界。因为阿瑟瑞不仅变容，而且还扮演了民族志学者（ethnographer）的角色，因为她带领我们进入了不允许女人和外人参加的以色列哈西德派宗教节。艾丽卡•哈利舍通过自然的而非文化的作品也表达了对于性别的社会建构问题的关注。她将蝴蝶和女性生殖器拼合起来，以此反应了变形的主题。她现在的作品是将蝴蝶照片和来自此种蝴蝶产地的女性的生殖器拼接起来。艺术家将霸王蝶和墨西哥女性生殖器拼接起来，并且采用了该品种的蝴蝶从北美到墨西哥的迁徙路线作为背景，这就让本已具有政治色彩的作品更加政治化了。移民问题与非法移民问题相交织。通过女性生殖器暗示出来的身体变成了家长制政治的战场，在美国仇外心理的区域内进行着。这种人与动物的组合也内在于加布里埃尔德拉莫拉的作品中——他将自己的头像与狗的身体组合起来。但是，构成他作品图像的能指是用人的头发构成的，以此，对人类用自己的标准附会动物的需要进行了优雅但却具有颠覆性的评论。
人与动物的辨证关系在其他作品中也有体现，并且进行了更为内在的表达。比如米格尔•安吉尔•雷奥斯的影像作品《阿根廷牛肉卷》（2008）便是如此。作品中的那位舞者融合了多种舞蹈传统，比如西班牙弗拉明戈、阿根廷舞。他手里拿着阿根廷加乌乔牧人的传统武器——套索（boleador）。这种武器是投掷使用的，使用者先将这个栓在绳子末端的铁球摆动起来，然后再突然投出去。而雷奥斯则对这种致命的武器进行了改换，他把铁球换成了一块肉。这样，当舞者踩着舞步，悠荡着这个套索的时候，那些狗就会发疯似地追着咬。变形的主题就体现在踩着节奏的舞者和恶狗之间的互动中。这种富有诗意的互动和那种动态的、雕琢的完形心理（gestalt）是一脉相承的。犬与拟人化也是卡洛斯·阿莫拉雷斯的作品《人兽》（2005）的主题。这部高清晰黑白动画向人们展现了一幅世界末日的场面，狼与狗统治了大都市，其中人类活动的唯一残迹就是边上喷气式飞机留下的影子，它仿佛是一个机械幽灵一般。
比尔·贝里的《自画像》（2006）也体现了幽灵意味。艺术家的头被塞进一只筒瓦，使该作品具有施虐受虐的意味。艾玛•麦克凯格的绘画与玄武夸的摄影作品也体现了躯体变形的主题。前者的作品表现了小女孩儿的头部被移植到了性感的成人身体上，唤起了人们对于儿童早熟的焦虑。而玄武夸则在自己鲜艳的大幅作品中探讨了美与死亡、爱神与死神的社会性符码。其他艺术家，如克莱文森•德奥利维拉借用了曼雷的《眼泪》（1930-32）以及乔治·巴塔耶的代表作《眼睛的故事》（1928）所做的作品。历史也是萨维与保罗•斯坦尼卡斯的装置作品《玛格达·戈培尔，骨头女王》（2009）的形式与观念基础。斯坦尼卡斯的装置介于档案、考古、狂欢节、歌剧与侦探小说之间，必定是经过了深思熟虑的精心制作：墙纸、线条、纸本作品、雕塑和影像交织一处，让人目不暇接，反映了戈培尔家族的女家长，这位为了祖国吞噬了自己亲生骨肉的纳粹撒旦。回顾历史也是画家豪尔盖•塔克勒创作的必要条件。他的作品在恢复历史创伤的同时也将个别转化为了一般。他的图像来自于媒体资源，比如报道遭战争或恐怖主义轰炸的城市的摄影期刊。他的图像看上去模糊不清，令人想起了某些剧变事件。该艺术家将城市的美景挖空，而以千变万化的建筑景观取而代之。这样，呈现在我们面前的便是满眼创伤，无论是从精神上还是情感上都让我们联想到战争的废墟和政治、文化的冲突。沃基特克•乌尔里克名为《SCUM》（2007）的三频影像装置也以历史为题材。这件作品既是原始主义的，也是未来主义的。其中一个孤单的主角在浩劫之后的废弃地下室里徘徊，数着这里的居民：那些软弱无力的、饱受折磨和摧残的和不知姓名的牺牲者，和那些曾经有权有势的、作恶多端的人，正是他们制造了这种全面的非人状态。
《变形记》展览借用了卡夫卡的小说的外表，但却挖掘了比这部小说更多的东西，超越了作者卡夫卡自己的矛盾生活。也就是说，卡夫卡是一个生活在奥匈帝国的捷克人，是同乡人中会讲德语的人，也是讲德语的圈子中会讲犹太语的人。他对犹太教也深表怀疑。如果将这些特质综合起来看待，我们就会理解为什么他看不起自己那卑微、平凡、而又带有官僚气息的职业了。简言之，卡夫卡的生活可比他的这部开创性的现代主义小说。而今天，这部文学作品必将对我们再发新意，尤其是在二十一世纪另一个十年开始之际。因为，毫无疑问这个时代也会经历自己的嬗变，从而走向充满存在的不确定性的未来。







参展艺术家及作品
1. Carlos Amorales / 卡洛斯•阿莫拉雷斯 作品
Artist: Carlos Amorales
Title of artwork: Manimal
Year: 2005
Medium: Digital animation with audio
Time: 5 min. 24 sec.
Courtesy of the artist and Yvonne Lambert, New York/Paris 
 
艺术家： 卡洛斯•阿莫拉雷斯作品名称： 人兽创作年代： 2005媒介： 有声数字动画时长： 5分24妙作品版权： 艺术家本人及Yvonne Lambert画廊，纽约/巴黎





Known for his flat, bold forms, Carlos Amorales works in a wide variety of media, including video animation, painting, drawing, sculpture, and performance. Images of his "liquid archive" - birds, spiders, trees, wolves, etc. - recur through his work in a limited palette of blacks, reds, and grays. His earlier works featured masked Mexican wrestlers performing in wrestling rings throughout the world, including at the Tate Modern in


London and the Pompidou Center in Paris. Amorales has had solo exhibitions at the MALBA in Buenos Aires, The Milton Keynes Gallery, Milton Keynes, UK, Yvon Lambert Paris and New York, and MUCA, Mexico City. The artist's work is featured in many public and private collections, including the MoMA, New York, Jumex Collection, Mexico City, the Cisneros Foundation Collection, New York, Margulies Collection, Miami, Daros Collection Zurich, and the Irish Museum of Modern Art, Dublin.





卡洛斯•阿莫拉雷斯的标志性风格是平面、粗放，他采用多种媒介进行创作，包括影像动画、绘画、素描、雕塑和行为。他的“液体档案”图像——鸟、蜘蛛、树、狼等——通过黑色、红色、灰色这几个有限的颜色呈现出来。他早期的作品往往是表现蒙面的墨西哥摔跤手在世界各地的“摔跤场地”进行表演，比如伦敦泰特现代美术馆、巴黎蓬皮杜艺术中心等机构。阿莫拉雷斯也在布宜诺斯艾利斯的拉美艺术博物馆、英国米尔顿·肯尼斯美术馆、巴黎与纽约的伊冯·兰伯特画廊，以及墨西哥城的MUCA美术馆举办过个展。他的作品被许多个人及公共机构收藏，包括纽约现代艺术博物馆、墨西哥城Jumex收藏、纽约西塞内罗斯基金会、迈阿密马古利斯收藏、苏黎世达诺斯收藏，以及都柏林爱尔兰现代艺术博物馆等。









2.Oreet Ashery / 奥里特•阿瑟瑞 作品：
 
 


Artist: Oreet Ashery
Title of artwork: Self-Portrait as Marcus Fischer I-IV
Year: 2000
Medium: Chromogenic prints
Dimensions: 100 cm x 110 cm
艺术家： 奥里特•阿瑟瑞
作品名称 ： 扮成马科斯·费舍尔的自画像1-4
创作年份： 2000
规格： 100 cm x 110 cm






Occupation I, II
2003
Video with audio
4 minute loop
Courtesy of the artist

艺术家： 奥里特•阿瑟瑞
作品名称： 侵占1，2
创作年代： 2003
媒介： 有声影像
时长： 4分钟




Oreet Ashery is a London based, interdisciplinary visual artist. Ashery’s performative practice engages with socio-political paradigms and tends to include participatory and delegated elements. Interested in notions of subjectivity and authenticity, Ashery will occasionally produce work as a male character. Those have included; an orthodox Jewish man, an Arab man, a black man, a Norwegian postman, a large farmer and most recently a false messiah based on the historical figure of Shabbtai Sevi. Ashery exhibits, performs, intervenes and screens her work extensively in an international context; both in art venues, as well as in public spaces or situations. Those have included; a derelict fishermen’s hut, curators’ bedrooms, Qalandia checkpoint, men only religions festival, the Church of Scientology. Ashery’s work has been discussed in numerous art, academic and cultural publications and books, in various languages. Ashery’s practice engages with Jewishness as a cultural material, Zionist narratives, and issues relating to the Occupation of Palestine.

奥里特•阿瑟瑞来自伦敦。她采用跨领域的方式进行的视觉艺术实践关注社会政治的范式，其作品趋向于采用一种参与和代表的姿态。对于主观性和真实性感兴趣的阿舍瑞经常以男性为题材进行创作，比如正统派的犹太人、阿拉伯人、黑人、挪威邮差和高个农民。最近她还根据历史人物扎巴泰‧茨維（Shabbtai Sevi）创作了伪弥撒亚。阿舍瑞在世界各地的艺术与公共空间举办展览、行为表演，并拍摄作品。包括一个被废弃的渔人茅舍、策展人的卧室、查兰迪亚的关卡检查站、只有男人的宗教节、信仰派教堂。阿舍瑞的作品在艺术学术圈及多种语言的文化出版物中引起了众多评论。她的作品涉及到作为一种文化材料的犹太性、锡安主义叙事以及与巴勒斯坦被占有关的诸问题。



3.Bill Berry / 比尔•贝里 作品

Artist: Bill Berry
Title of artwork: Self PortraitYear: 2006Medium: mixed media, tube sockDimensions: 63.5 cm x 10.2 cm x 10.2 cm  

艺术家： 比尔•贝里
作品名称： 自画像
创作年代： 2006
媒介： 综合媒质，筒袜
规格： 63.5 cm x 10.2 cm x 10.2 cm

Bill Berry has incorporated photography, sculpture, video, installation, and his very own iconic character: BopBagBill. A bop bag is an inflatable about four feet tall, shaped like a bowling pin, and weighted at the bottom. Made popular in the 1950s with clown faces topping the balloon, the bop bag has been a kid’s punching bag character that offered interactive home sports opportunities ages before Nintendo. Bill Berry has used a bop bag emblazoned with his own shape, often in the dozens, as a silent witness to catastrophes around the world. One series drew attention to the third anniversary of Hurricane Katrina by showing photos of BopBagBill sitting in the remains of Louisiana swimming pools, and again in the pools of luxury resorts in Southern Thailand after the deadly Tsunami. His video and sculptural work are also a kind of self-portraiture, but his self-referential art is always inserted into social and political contexts that complicate both the genre of the self-portrait as well as historical events.

比尔•贝里采用跨媒介的方式进行创作，融合了摄影、雕塑、录像、装置等手段，以及他自己的图像风格——BopBagBill。“Bop bag”是一个能够膨胀的包，大概四英尺高，形状像个保龄球，底端重，上边画着小丑的头像，曾在1950年代风靡一时。在电子游戏时代之前，成为儿童的玩具。贝里用了好几个画着自己形象的Bop bag，自己仿佛成为了一个观者，见证者世界各地的灾难。其中的一个系列是为了纪念Katrina飙风三周年而做的：采用了路易斯安那的一些游泳池中BopBagBill照片。而另一个系列则取材于遭海啸袭击的泰国南部豪华度假村的游泳池以纪念那次海啸。他的动态影像与雕塑作品也采用了自画像的形式，但是他总是把这种具有自我指向性的艺术放置在社会和政治语境中，从而将自画像与历史事件融为一体。


4.Erika Harrsch / 艾丽卡•哈利舍 作品：



Artist: Erika HaarschTitle of artwork: Toys Year: 2006 Medium: Acrylic and collage on paper
Dimensions: 54.8 cm x 41.5cm




艺术家： 艾丽卡•哈利舍
作品名称： 玩具
创作年代： 2006
媒介： 丙烯颜料和拼贴画
规格： 54.8 cm x 41.5 cm



Artist: Erika HaarschTitle of artwork: Mermaid Year: 2007Medium: Acrylic and collage on paper
Dimensions: 54.8 cm x 41.5cm

艺术家： 艾丽卡•哈利舍
作品名称： 美人鱼
创作年代： 2007
媒介： 丙烯颜料和拼贴画
规格： 54.8 cm x 41.5 cm

Born in Mexico City, Erika Harrsch has lived and worked in Mexico, Italy, Germany and New York. Her image-making tools include painting, photography, video and a kind of scenario building based on elements in artificial and natural environments, which find expression in the form of installations and three-dimensional photographic works. Her work has been the subject of solo and group exhibitions at galleries, museums, Art biennials in Mexico, USA, Brasil, Argentina, Korea, China, Belgium, Germany, Sweden, Spain, UK, Poland and Turkey.In 2009 Erika Harrsch developed the project "United States of North America” which is a continuation with the Monarch Butterfly subject, this time opening up a dialogue on nationality and immigration. Since starting with the Butterfly subject and doing research for more than 6 years with an entomologist, Erika has used butterflies as a metaphor to address matters of identity, gender, nationality and the relationship of human beings upon its own nature and fragility.

艾丽卡•哈利舍出生于墨西哥城，曾经在墨西哥、意大利、德国和纽约生活和工作。她的创作采用绘画、摄影、录像，以及根据人工和自然环境因素进行的情景设计，这种设计以装置以及三维影像作品得到体现。她曾在墨西哥双年展、美国、巴西、阿根廷、韩国、中国、比利时、德国、瑞典、西班牙、英国、波兰、土耳其举办过个展或群展。2009年，哈利舍创作了《霸王蝶》系列的续篇《美国》系列，从而开启了关于民族性和移民问题的对话。自从以蝴蝶为题材进行创作以来，她就和一位昆虫学家进行了6年多的研究工作。她将蝴 蝶作为一个比喻，用来指涉身份、性别、民族以及人类自身的本质与脆弱性等主题。


5. Emma• McCagg / 艾玛•麦克凯格 作品

Title of artwork : Baby Jane
Year: 2010
Medium: oil on canvas
Dimensions: 96.4 cm x 66.6 cm
Courtesy of the artist and Koscielak Gallery, Chicago

艺术家： 艾玛•麦克凯格作品名称： 宝贝珍妮
创作年代： 2010媒介： 布面油彩、亮粉规格： 96.4 cm x 66.6 cm版权： 艺术家及芝加哥Koscielak画廊
I consider myself a post-figurative painter in the same manner that some artists work in post-conceptual or post-minimalist styles. My work mines a variety of sources that push the historical understanding of figurative painting in numerous directions. I rework conceptually the formal strategies associated with current modes of portraiture that emphasize the psychological and emotional states of the subject matter. While historical influences might be Egon Schiele and Andy Warhol, more recent influences would include John Currin and Glen Brown. But my work is also informed by other aspects of visual culture including fashion photography, advertising, film stills, publicity photos, po:ice mug shots, as well as theatre costume design.
我把自己定位为后具像画家，我的方式与一些后观念或后极少主义风格有相似之处。我作品所运用的多种资源将对于具像绘画的历史性解读推向多个方向。当前的肖像画强调的重点是主体的心理和情感状态，而我是从观念出发，重新利用与这些模式相关的形式策略。对我构成影响的艺术家包括埃贡·希勒与安迪·沃霍尔，以及近来的约翰·科林和葛兰·布朗。但是我的作品也体现了视觉文化的其他方面，包括时尚摄影、广告、电影、公共照片、警方所用的脸部照片以及剧场与服装设计。

6. Gabriel de la Mora / 加布里埃尔•德拉莫拉 作品


Artist: Gabriel de la MoraTitle of artwork : Self-Portrait as Dog, Second PlaceYear: 2008Medium: Human hair on paperDimensions: 21.6 cm x 27.9 cm Courtesy of the artist and Galeria OMR, Mexico City

艺术家： 加布里埃尔•德拉莫拉作品名称： 一只狗的自画像媒介： 头发、纸
创作年代： 2008
规格: 21.6 cm x 27.9 cm




Artist: Gabriel de la MoraTitle of artwork : Self Portrait as a Dog II
Year: 2008
Medium: Human hair on paper
Courtesy of the artist and Galeria OMR, Mexico City

艺术家： 加布里埃尔•德拉莫拉
作品名称： 一只狗的自画像2
创作年代： 2008
媒介： 头发、纸

What interests me is the line between the figure and the abstract, between drawing and sculpture, as well as the balance between the formal and conceptual. I began the series of drawings with hair in February 2004. The idea is based on giving up painting in order to return to drawing, without using a traditional technique. I wrote about thirty definitions and eliminated all but one: Drawing is a collection of dots and lines that generate an image of an idea or concept on paper. I began experimenting with hair in 1997 and in 2004 decided to use it as dot and line. The process of drawing with hair is different in each series and has evolved throughout the years. In the series of portraits, each character is drawn with their own hair or DNA. 

“The only excuse for making a useless thing is that one admires it intensely.”Oscar Wilde, 1891.

我感兴趣的地方是具像与抽象之间、绘画与雕塑之间以及形式和观念之间的平衡。我的头发系列开始于2004年。我的想法是在不借助一种传统技法的情况下，通过放弃绘画而回到素描。我给素描下了大约30多个定义，但最终都一一排除了，而只留下一个，那就是：素描是在纸上用来产生某一观念的形象的点和线。早在1997年，我就开始了头发试验，直到2004年才决定将头发当成点和线来使用。用头发创作的程序因不同的系列而有所不同，并且这些年来一直都在不断发生变化。在肖像这个系列中，每个人物都是用他/她自己的头发或DNA作成的。

“做一件无用事的唯一借口，就是对这件事爱之过深”。
奥斯卡·王尔德，1891
 

7.Cleverson de Oliviera / 克莱文森•德奥利维拉 作品



Artist: Cleverson de Oliviera,
Title of artwork : Tears (After Man Ray)
Media: Chromogenic printDimensions: 30.5 cm x 30. 5 cm x 6.9 cm  
艺术家： 克莱文森•德奥利维拉
作品名称： 泪水（纪念曼雷）
规格： 30.5 cm x 30. 5 cm x 6.9 cm
Cleverson de Oliveira’s art veers in a myriad of formal and thematic directions. Consisting of photography, video, sculpture, and installation, his art is a meditation on the fleeting nature of life. Yet even when it plummets into what may ostensibly be dark themes, his work examines violence and death through a complex prism configured from experience as well as fiction.
His videos span broad array of influences including music video, film genres such as noir and horror, as well as documentary, educational video, and narrative-based work. His technical approach to the moving image is also as eclectic as his subject matter: rapid-fire editing, idiosyncratic camera angles and lighting, and seamless meshing of soundtrack and imagery. Similar affectation can also be found in Cleverson de Oliveira’s photographs. His pictures, however, are more demure than his video work but no less as powerful. The slightly blurred quality of his photography attains an aesthetic sensibility closer to painting; yet, because his images have been taken out of their original context they now reside somewhere between portraiture, landscape, still life, animation, photojournalism, computer imaging and digital manipulation.

克莱文森•德奥利维拉的艺术无论是在形式还是在内容上都具有多重方向。包括摄影、影像、雕塑和装置在内的作品都是对飞逝的生命的沉思。就算他的作品表面上陷入了晦暗的主题，那也是他通过直接、间接体验的多棱镜观看世界时对暴力和死亡的审视。
他的影像作品受到了音乐录像，恐怖片、纪录片、教育片、叙事片等电影的影像。他用于处理动态影像的技术和作品题材一样不拘一格：快速的编辑、独特的视角与光线与天衣无缝的声像结合等。
而在他的摄影作品中也能体会到这种感觉。虽然他的动态影像作品不如他的摄影作品那样严肃，但却同样有力。他稍稍发虚的摄影给人一种绘画感。这些作品被从其原来语境中抽离，兼有肖像画、风景画、静物画、动画、摄影新闻、电脑图像和数字成像的风格。
 

8.Riiko Sakkinen / 瑞科•萨克内 作品：




Artist: Riiko Sakkinen
Title of artwork: FelciaYear: 2008 Medium: Mixed media on paperDimensions: 29.7 cm x 21. cm
Courtesy of the artist

艺术家： 瑞科•萨克内
作品名称： 菲尔西娅
创作年代： 2008
媒介： 纸本综合材料
规格： 29.7 cm x 21. cm
Riiko Sakkinen does A4 standard size drawings and exhibits them in colored wall installations. He also does paintings and objects. Sakkinen believes, according to Pablo Picasso's words, that "the art is not made to decorate rooms. It is an offensive weapon in the defense against the enemy". Sakkinen's enemies are everywhere, he shoots to all the directions and bites the hands that feed him. Riiko Sakkinen has put on several solo shows in Europe, the United States and the People's Republic of China since 1996. His works have been displayed at numerous group shows around the world and are included in the permanent collections of several museums including The Museum of Modern Art, New York, and Kiasma Museum of Contemporary Art, Helsinki. Every Sunday after washing his car, Riiko Sakkinen picks wild mushrooms in the forest with his daughter. He likes Sefardi cuisine and supports Real Madrid
瑞科•萨克内在彩色墙面装置上展出A4大小的画。他也画油画并且利用现成品做艺术。萨克内相信毕加索的观点“艺术不是用来装饰厅堂的，而是抵御敌人的武器”。萨克内的敌人无处不在，因此他的攻击也指向四面八方，甚至对其赞助者也不俯首帖耳。
1996年以来，瑞科•萨克内曾在欧洲、美国和中国举办了数个个展。其作品曾参加在世界各地举办的多个联展，并被纽约现代艺术博物馆、赫尔辛基奇亚斯马当代美术馆等机构永久收藏。
每周日，当他洗完车的时候，他总是和女儿在树林中采野蘑菇。他喜欢塞法尔迪风格的菜肴，并且是皇家马德里球队的忠实球迷。

9. Koh Sang Woo ／ 玄武夸作品




Artist: Koh Sang Woo
Title of artwork: Psychology of Sexuality,
Medium: C-print, diasec
Dimensions: 111.8 cm x 160 cm
Courtesy of the artist and Gallery Sun Contemporary, Seoul  

艺术家： 玄武夸
作品名称： 性心理学
媒介： 彩色相纸、diasec装裱
规格： 40 x 60 英寸

My work is about connect and passion. Not about the standard or norm of beauty but the connection and emotion the viewer has when viewing the artworks. Challenging the fundamental views on beauty is one of the most important qualities of my artwork, second is to amplify my emotion to the large scale.  I convey my passion of emotion to life-sized figures in my artwork. The mixture of my life to reality collide, which translates to the bright irregular colors of my work.  Every click I make on my camera to every brush stroke I paint to the body translates my mood and passion to each piece. Capturing the love, emotion, and life is what drives me to explore the human relationships each and every day.
我的作品是关于联系与激情的，这并不是指美的标准或准则，而是当观众面对作品的时候所生发出来的联系感与情感。我的艺术的一个重要方面就是挑战人们对于美的固定观念。第二点就是把这种情感放大。我用作品中原大的人物来表达我的激情。现实作用于我的生活而产生的感觉被转化为作品中鲜亮的不规则的色彩。每一次按动照相机的快门和我画在人物身上的每一笔颜色都将我的心情和激情赋予了作品。对于爱、情感和生命的追求是我探索人类关系的动力。






10.Miguel Angel Rios / 米格尔•安吉尔•雷奥斯 作品




Artist: Miguel Angel Rios
Title of artwork: Matambre
Year: 2008
Medium: Single-channel video with audio
Time: 2 min., 14 sec.

艺术家： 米格尔•安吉尔•雷奥斯
作品名称： 阿根廷牛肉卷
创作年代： 2008
媒介： 单频道影音录像
时长： 2分钟14秒










Miguel Angel Ríos stages a dance performance in a black box, translating symbolic elements of Argentina into his own stylistic elements. The Argentine artist confronts a dancer wearing a white Armani suit with a pack of starving, wild dogs. The quick, rhythmic movement of the man’s feet and the boleadoras being swung through the air provoke the dogs to increasingly aggressive behavior. Gauchos used boleadoras almost as a type of slingshot to keep their cattle herds together. Employing rapid editing and repeated changes of perspective between the man and the barking dogs, the artist confronts arrogance and aggression as well as wealth and poverty. An image of a battle is created and is dramatized by the finely tuned rhythms of the stomping feet and the pieces of meat as they hit the ground. Moreover, Matambre is a play on words. For one, it describes an Argentine national dish, a kind of beef roulade, and for another, it literally means kill hunger! A reflection upon the current crisis of Argentina’s beef exports or a general metaphorical depiction of power relations are two possible interpretations.
Katharina Geyer




米格尔•安吉尔•雷奥斯在黑色空间中上演了一次舞蹈表演，将阿根廷的象征性元素转化为他自己的个人风格。这位阿根廷艺术家采用一位穿着白色阿尔玛尼（Armani）牌西服，领着一群恶狗的舞者。他快速而有节奏的脚步和挥动的套索激怒了那些凶猛的狗。这位加乔牧人几乎把套索当成了聚拢这些动物的工具。艺术家利用了人和狗之间的互动表现了自负、侵略、富有和贫穷等主题。有节奏的舞步和掉在地上的一片片的肉让私斗的一幕更具戏剧性。“阿根廷牛肉卷（Matambre）”这个题目一语双关，它指一种具有民族特色的食品，字面意思也指“杀死饥饿！”。所以这个作品既可以解读成对阿根廷牛肉出口危机的反思，也可以理解为对权利关系的一种象征性表达。
凯瑟琳·盖耶















11. Svai &Paul Stanikas / 萨维和保罗.斯坦尼卡斯作品


Artist: Svai & Paul Stanikas
Title of artwork: Magda Goebbels Queen of Bones (detail of installation)Year: 2009Medium: photographic installation, graphite on paper, works-on-paper,photography, video with audio, found objects
Dimensions : variable
Courtesy of the artists
艺术家： 萨维与保罗•斯坦尼卡斯
作品名称： 玛格达·戈培尔 , 骨头女王 （装置细节）
创作年代： 2009媒介： 壁纸、石墨、纸张、静电复印、照片、有声影像、拾来之物
规格： 可调整
版权： 艺术家本人


Artist: Svai & Paul Stanikas
Title of artwork: Magda Goebbels Queen of Bones (detail of installation)
Year: 2009
Medium: Photographic installation, graphite on paper, works-on-paper, photography,
video with audio, found objects
Dimensions: variable
Courtesy of the artists


艺术家： 萨维与保罗•斯坦尼卡斯
作品名称： 玛格达·戈培尔， 骨头女王 （装置细节）
创作年代： 2009媒介： 壁纸、石墨、纸张、静电复印、照片、有声影像、拾来之物
规格： 可调整
版权： 艺术家本人







The project consists of a photographic installation, video, works-on-paper, a text titled "Bad way" written by Herkus Kunčius, and composition of drawings - installation "Magda Goebbels Kills Her Six Children". The installation was presented at "ARTVILNIUS'09" fair, in Vilnius on 8th of July, 2009. Later this work was exhibited in 2009 Beijing 798 Biennale.
This project differs from many other of their works in a way in that anonymous subjects are not depicted but actual personalities, and their experiences substantiated by historical facts. Despite of approaching to history there are huge possibilities of interpretation left, even for those who are not capable of detaching themselves from the context. Interpretation is not burdened by P&S Stanikas' endeavor to expose the significant details of historical phenomena, for the details are hardly discernable and perceptible to everyone. Finding the exact details can lead the viewer to a consideration of questions that were not raised earlier, not only in a purely historical context but also in the context of values common to all mankind and personal self-determination. And these considerations are the best way for the Queen of Bones to be perpetuated for the deeds she perpetrated.




该艺术作品包括：图片装置、录像、一个写着“Bad Way”的标题（Herkus Kunčius写），和一系列素描（《玛格达·戈培尔杀了她的六个孩子》）。这件装置于2009年7月8日在维尔纽斯举办的“09艺术维尔纽斯”艺术节展出。并于同年在北京“798双年展”展出。
这件作品和很多其他的同类作品不同，因为作者描绘的都是有据可查的人，而不是那些匿名者。除了作者对于历史的关注，作品为我们留下了大量阐释的可能性，即便是那些无法将自己及其语境分离开来的人也能够对作品进行阐释，但是这种阐释却并不会因为萨维与保罗•斯坦尼卡斯试图揭示历史现象的重要细节这一事实而显得负重累累，因为我们很难看到或感到这些细节。倘若观者试图准确地找出这些历史现象的细节，那么他就必须思考一些以前不曾出现过的问题。另外，观者不仅能在一种纯粹的历史语境中思考这些问题，而且还要考虑到人类共通的价值观以及个人决断的成分。只有考虑到这些，艺术家的努力才能让《骨头女王》这件作品更长久地保持其价值。


















12. Jorge Tacla / 豪尔盖•塔克勒 作品



Artist: Jorge Tacla
Title of artwork: Trauma H
Year: 2009
Medium: Acrylic, oil, and marble powder on canvas
Dimensions: 166.6 x 152.4 cm
Courtesy of the artist and Galeria Animal, Santiago

艺术家： 豪尔盖•塔克勒作品名称： 创伤 H创作年代： 2009媒介： 布面丙烯、油彩、大理石粉规格： 166.6 x 152.4 cm

Jorge Tacla has been interested in architectural spaces -- mainly interiors-- that depict a world in ruins. These architectural structures seem as remnants of real or imagined civilizations; archetypes which project man at odds with the forces of history. Over the past years, and concurrent with eminent threats to our urban existence, Tacla has shifted his attention to less intimate aerial cityscapes, which in his paintings become almost abstract, to the extent that architectural topography seems like a hardened skin in the landscape.
豪尔盖•塔克勒对建筑空间（主要是指内部空间）感兴趣，以此表现了一个破败的世界。这些建筑结构似乎构成了一个真实的，或者想象出来的文明的残山剩水，也象征了人类发展与历史力量的背道而驰。在过去的几年里，他开始关注人类活动对于城市的威胁，他将注意力转移到具有公共性的城市风景，在他的作品中，这种风景变得几近抽象，而且建筑地形似乎变成了风景的硬壳。


13.Wojtek Ulrich / 沃基特克•乌尔里克 作品


Artist: Wojtek Ulrich
Title of artwork: SCUM Year: 2007
Medium: Three channel video with audio
Time: 18 minutes

艺术家： 沃基特克•乌尔里克
作品名称： 渣滓
创作年代： 2007
媒介： 三频道影像装置
时长： 18分钟







Born in 1963 in Lubin, Poland, Wojtek Ulrich studied at the Art Academy at Wroclaw and Duesseldorf Art Academy before moving to the United States in the early 1990s. His multi-media installations involving large metal sculptures, photography and video have been shown in galleries in Europe, Toronto, Chicago and in New York City, where he currently resides. His work explores questions of life and death, reality and illusion, and changing cultural factors in society throughout history.  His latest exhibition SCUM consists of a three-channel film projection, a video, sculpture and a series of digital photographs.  SCUM is both primal and of the moment: one work speak of man's inhumanity and existential condition within a filmic setting that is futuristic and archetypal, while the other work resides somewhere between Baudrillard's ecstacy of communication and the Tower of Babel.

沃基特克•乌尔里克1963年出生于波兰，曾在弗罗茨瓦夫艺术学院和杜塞尔多夫艺术学院学习，并于1990年代初移居纽约。他的多媒介装置包括大型金属雕塑、照片和录像。作品曾在欧洲、多伦多、芝加哥和纽约的美术馆展出。他的作品探索的是生与死、现实与幻想以及历史上不断变化的社会文化因素等问题。他最近的展览“SCUM”包括一部三频投影作品、一部动态影像、雕塑，以及一系列数字摄影。该展览既是原始的，也是当下的：一件作品道出了人类的非人性，并且在一个具有超现实主义风格和原型风格的电影场景中展现了人类的存在状态。而另一件作品则定位在鲍德里亚的传播的狂喜和巴别塔之间。







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