2010年（第五届）全国中青年艺术家推荐展 征稿通知
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“很久很久很久以前”
——斯德哥尔摩Magasin 3 Konsthall画廊
through December 12, 2010
Boo Ritson, Cindy, 2007.
所有图片版权归Magasin 3 Stockholm Konsthall 画廊所有
除非另有说明
上周”很久很久很久以前“展览在瑞典的斯德哥尔摩Magasin 3 Konsthall in Stockholm画廊开幕。展览会持续到2010年的12月12日，这个展览是迄今为止最全面的展览。由Richard Julin、Elisabeth Millqvist 、 Tessa Praun策展。展览展出了Magasin 3 丰富的新兴的国际当代艺术家的作品收藏。这个具有很大野心的展览展出了超过200件摄影、绘画、影像和雕塑，只用了一周的时间在瑞典选作品，开幕式充满了政治选举的氛围和那些发展中被熟知的斯德哥尔摩艺术场景。
有些众所周知的国际名单诸如 Uta Barth, Walter De Maria, Gabriel Orozco, Chris Ofili, Tal R, Gerhard Richter, Cindy Sherman, Fred Sandback, 和 Richard Tuttle.有许多的新鲜面孔都包含在2010年10月2日Moderna秋季展里面
丹麦艺术家 Tal R, Hyacint 作品，釉面陶瓷雕塑，2008
图片由 Christian Saltas提供
还有其他一些艺术家的名单（66位）以下：Absalon, Karin Mamma Andersson, Janine Antoni, Maya Attoun, Lynda Benglis, Christian Boltanski, Ann Böttcher, Anna Camner, Philip-Lorca diCorcia, Cecilia Edefalk, Marcel van Eeden, Jens Fänge, Robert Guillot, Rune Hagberg, Lova Hamilton, Carl Hammoud, Annika von Hausswolff, Siobhán Hapaska, Maria Hedlund, Anton Henning, Carl Fredrik Hill, Bror Hjorth, Rebecca Horn, Olav Christopher Jenssen, Ernst Josephson, Matti Kallioinen, Kimsooja, R.B. Kitaj, John Kleckner, Sigalit Landau, Matts Leiderstam, Maria Lindberg, Mark Manders, Truls Melin, Ohad Meromi, Jan van Munster, Jockum Nordström, Cecilia Parsberg, Håkan Rehnberg, Boo Ritson, Ulf Rollof, Glen Rubsamen, Tom Sandberg, Johan Scott, Jonathan Seliger, Miri Segal, Ann-Sofi Sidén, Santiago Sierra, Lena Svedberg, Fredrik Söderberg, Johan Thurfjell, Uglycute, Charlie White, Gunnel Wåhlstrand, Rémy Zaugg, Johan Zetterquist, 和 Christine Ödlund.
作为一个故事来叙述，展览分3个”章节“展开（换言之：理论点的的看法）第一章，涵盖了艺术史的概念并且提出一些新鲜的观点在肖像画上。第二章专注于创造和艺术加工，提供关于艺术家关于他们自己工作空间思考的方向。第三章构造了一个让观众和他们的伙伴关注的空间， 是一次展示通过镜头收集藏品本身的过程的旅程。
Janine Antoni的自画像Inhabit是观众接触最早的第一组图像，重点突出在内容和颜色上。在照片中，正在孩子的房间内Antoni挂在一个矫正胸衣上悬挂着。图像的核心人物不仅暗示着中世纪和文艺复兴时期描写的Madonna。而且，寓意着刘易斯卡罗尔的小说爱丽丝梦游仙境。最明显的参考，也许是墨西哥艺术家Frida Kahlo1994年的自画像The Broken Column。在这项工作中，卡萝根据自己裸体描绘她的背部支撑，她长长的黑色的头发和她的金属流动脊柱暴露出来。Kahlo作品的中心 是一个终身脊髓损伤的不幸意外，“在她的许多画像的痛苦是多方面的”馆长Elisabeth Millqvist解释为”身体和心理-爱情和背叛 “
Antoni’s piece is at once an homage to Kahlo and an exploration of chilhood rooms and collections. In its reworking of canonical images, Antoni embodies the focus of the historically-bent first chapter of the exhibition.
Janine Antoni, Inhabit, 2009, digital C-print, 304 x 191 x 7.5 cm. Courtesy Luhring Augustine.
Another piece working with history and personal histories is Matts Leiderstam’s self-portrait, Sarcophagus. Comprised of 84 acrylic paintings, Leiderstam’s canvases lean against one another towards the wall. In denying access to the viewer, the artist forsakes his own physical description. Taken singularly, each painting depicts volcanic eruptions, and refer to what the artist names “the powerful and fatal sexual eruptions” that led to the AIDS crisis. Grouped together, the paintings take the form and length of his own coffin, and the jar resting on top is made to resemble a vase available for mourners at graveyards. In this work, Leiderstam refers to death and life’s fragility, and in so doing, nods to the tradition of memento mori paintings popular in the seventeenth-century Netherlands. In depicting skulls or skeletons as part of their compositions, artists provided viewers with a reminder of their mortality. Some paintings even use the inscription “Ars Longa Vita Brevis” – art is eternal, life is short. In this sense, artists were able to imply their craft’s eternity; while the viewers’ fleeting lives will pass, the artwork will endure. Gabriel Orozco’s Black Kites Perspective can also be read as such.
Matts Leiderstam, Sarcophagus, 1994, 84 paintings, acrylic on canvas, ceramic cup, 75 x 95 x 173 cm.
Gabriel Orozco, Black Kites Perspective (right), 1997, digital C-print, 41 x 51 cm. Courtesy of Marian Goodman.
Boo Ritson’s Cindy (pictured above) takes as its portraiture technique something very plastic: he paints directly on his subjects and then photographs them. The result is disorienting: we see the individual, under the paint, but the facial features are general. The work is both the painting and the photograph, which both hides and exposes. Boo Ritson’s subjects look cooly at us behind their sunglasses; their faces don’t show expectation, hate, sorrow, anger, fear, or happiness. In that sense, these erasure of ephemeral feelings can also be seen in relation to memento mori.
Ulf Rollof reworks the classical vase of antiquity with his highlighter-yellow sculpture Container. In a break from traditional portraiture, the artist takes just one body part as his focus – the molds of over twenty women’s breasts are used as a decorative border of his vase. Cindy Sherman finds her home in this chapter as well.
Foreground: Ulf Rollof, Container, 2001, wax, titanium pigment, 50 x 110 x 110 cm.
Uta Barth, Untitled (05.17), 2005, C-prints, mounted, four parts, 61 x 64 cm. Photo by Christer Carlsson, courtesy of Andréhn-Schiptjenko.
Anna Camner, A Chilling Tale of The Ever Circling Dragon, 2005 – 2006, oil on plexiglass, 41.5 x 41.5 cm.
Annika von Hausswolff, Hey Buster! What do you know about desire?, 1995, C-print, 22 x 28 cm.
L to R: Christina Ödlund, Phenomena, 2009, pencil on paper, 53 x 58 cm; Gunnel Wåhlstrand, Mother Profile, 2009, ink-wash on paper, 102 x 72 cm; Annika von Hausswolf, Eyewitness, 1997, C-print, 25 x 19 cm.
The second chapter deals with creative spaces. It was born from, as curator Tessa Praun explains, the best part of her job – the studio visit. The artist’s studio has long been the subject of fascination for art lovers, curators, and collectors alike. “The studio is the place where ideas and creative momentum meet practical processes, and in some cases,” as in the case of Karin Mamma Andersson, “it is the space itself that inspires creativity.” In Studio (2007), the viewer is allowed a glimpse into the artist’s creative space, and, as such, mind. The typical studio one might imagine – a mess of paints and papers, the physical manifestation of a disorderly genius mind – comes to life. Andersson also brings a chair from her studio into the installation, and the 3D object makes tangible that at which the 2D can only hint.
Karin Mamma Andersson, Studio, 2007, acrylic and oil on panel, 149 x 72 cm.
Chair from the artist Karin Mamma Andersson’s studio.
As one moves between the works, borders between real, fictitious, and mental spaces blur and give glimpses of the stories inherent in all the works. In Jens Fänge’s Nachtspiel, the walls themselves become the studio surrounding the viewer. A nod to trompe l’oiel painting of classical origin, a “trick of the eye” which employs realistic imagery to create an optical illusion. Surrounded by a studio, the viewer is suddenly taken out of the comfortable position as history-tracer and put in the position of the creator. The viewer is challenged to create.
Jens Fänge, Nachtspiel, 2007, wallpaper.
Jockum Nordström, Guitarplayer, The Readers, The Middle-Age, The Table – four scenes from pop up box By and to Jockum. Seven scenes that will be produced later this fall in an edition of 25 by Christophe Daviet-Thery Livres d’artistes et éditions, Paris.
Christine Ödlund, Thought-Form, 2009, installation with DVD, wood, styrofoam, 260 x 150 cm.
Ann-Sofi Sidén, Who Told the Chambermaid?, 1998, DVD installation with 17 channels, black and white, monitors, a surveillance camera.
The third and final section is arranged by Richard Julin, who spent generous time conceiving of and constructing a platform in the lower level of the institution, in which objects could be collected and seen. Through the construction of this labyrinth, Julin is able to evoke an exploratory space in which conversations can take place between viewers, between the viewer and the objects, and between the objects themselves.
Surprising juxtapositions of seminal minimalist works with newer installations facilitate reinterpretations of older works and provide context for new ones. Precious objects, such as Walter de Maria’s stainless steel High Energy Bar and and Gerhard Richter’s shining metal Cross reside alongside video works in an encapsulated viewing area. A large, round seating area provides a comfortable platform for multiple viewing angles. Swedes mingle with Americans; Israeli video artist Absalom shouts in silence from his interspersed screens.
To Julin, exhibitions mean “people encountering ideas in the shape of artworks,” and he strives to create an exhibition architecture “in which you as a visitor can experience the art in a spatial environment that comes from the works themselves.” The associative nature of the installation hopes to “create the joy of discovery in visitors similar to a collector’s enthusiasm.”
Installation view, Thrice Upon a Time.
Christian Boltanksi, Reliquaire, 1989, 114 tin boxes, three metal drawers with black and white photographs, three electric lamps and wire, pieces of fabric, 390 x 46 x 66 cm.
The title of the exhibition, a play on the classic fairytale opener “Once Upon a Time,” alludes both to the institution’s name, as well as the three-fold story occuring within the show. Taken one by one, the chapter divides create links between objects which better allow them to tell their stories. It is up to the viewer to decide whether or not these links are cohesive. But taken as a whole, this all-encompassing exhibition underlines the richness of Magasin 3′s collection, and proves that “the stories and ancedotes are more important than the objects themselves.”
Magasin 3 Stockholm Konsthall is a privately funded art space with a collection of approximately 600 works. Founded in 1987, it filled a gap in the national scene and quickly became one of the most important spaces for exhibiting mid-career and internationally-established artists. Magasin 3 is part of a collaboration of FACE (Foundation of Arts for a Contemporary Europe), a newly formed group of five European arts nonprofits that also includes Athens’s DESTE Foundation, the Ellipse Foundation of Cascais, Portugal, Fondazione Sandretto Re Rebaudengo of Turin, Italy, and Paris’s La Maison Rouge.
- J. Lindblad
Related Links:
Exhibition Site [Magasin 3]
Picks & Reveals: Installation Images [Magasin 3]
Diary: Hello Dali [Art Forum]
Art Splash: Stockholm [Contemporary Art Links]
Scene and Herd: Swedish Dish [Art Forum]
Investigations of a Dog – coming to Magasin 3 in Spring 2011 [Art Info]
——斯德哥尔摩Magasin 3 Konsthall画廊
through December 12, 2010
Boo Ritson, Cindy, 2007.
所有图片版权归Magasin 3 Stockholm Konsthall 画廊所有
除非另有说明
上周”很久很久很久以前“展览在瑞典的斯德哥尔摩Magasin 3 Konsthall in Stockholm画廊开幕。展览会持续到2010年的12月12日，这个展览是迄今为止最全面的展览。由Richard Julin、Elisabeth Millqvist 、 Tessa Praun策展。展览展出了Magasin 3 丰富的新兴的国际当代艺术家的作品收藏。这个具有很大野心的展览展出了超过200件摄影、绘画、影像和雕塑，只用了一周的时间在瑞典选作品，开幕式充满了政治选举的氛围和那些发展中被熟知的斯德哥尔摩艺术场景。
有些众所周知的国际名单诸如 Uta Barth, Walter De Maria, Gabriel Orozco, Chris Ofili, Tal R, Gerhard Richter, Cindy Sherman, Fred Sandback, 和 Richard Tuttle.有许多的新鲜面孔都包含在2010年10月2日Moderna秋季展里面
丹麦艺术家 Tal R, Hyacint 作品，釉面陶瓷雕塑，2008
图片由 Christian Saltas提供
还有其他一些艺术家的名单（66位）以下：Absalon, Karin Mamma Andersson, Janine Antoni, Maya Attoun, Lynda Benglis, Christian Boltanski, Ann Böttcher, Anna Camner, Philip-Lorca diCorcia, Cecilia Edefalk, Marcel van Eeden, Jens Fänge, Robert Guillot, Rune Hagberg, Lova Hamilton, Carl Hammoud, Annika von Hausswolff, Siobhán Hapaska, Maria Hedlund, Anton Henning, Carl Fredrik Hill, Bror Hjorth, Rebecca Horn, Olav Christopher Jenssen, Ernst Josephson, Matti Kallioinen, Kimsooja, R.B. Kitaj, John Kleckner, Sigalit Landau, Matts Leiderstam, Maria Lindberg, Mark Manders, Truls Melin, Ohad Meromi, Jan van Munster, Jockum Nordström, Cecilia Parsberg, Håkan Rehnberg, Boo Ritson, Ulf Rollof, Glen Rubsamen, Tom Sandberg, Johan Scott, Jonathan Seliger, Miri Segal, Ann-Sofi Sidén, Santiago Sierra, Lena Svedberg, Fredrik Söderberg, Johan Thurfjell, Uglycute, Charlie White, Gunnel Wåhlstrand, Rémy Zaugg, Johan Zetterquist, 和 Christine Ödlund.
作为一个故事来叙述，展览分3个”章节“展开（换言之：理论点的的看法）第一章，涵盖了艺术史的概念并且提出一些新鲜的观点在肖像画上。第二章专注于创造和艺术加工，提供关于艺术家关于他们自己工作空间思考的方向。第三章构造了一个让观众和他们的伙伴关注的空间， 是一次展示通过镜头收集藏品本身的过程的旅程。
Janine Antoni的自画像Inhabit是观众接触最早的第一组图像，重点突出在内容和颜色上。在照片中，正在孩子的房间内Antoni挂在一个矫正胸衣上悬挂着。图像的核心人物不仅暗示着中世纪和文艺复兴时期描写的Madonna。而且，寓意着刘易斯卡罗尔的小说爱丽丝梦游仙境。最明显的参考，也许是墨西哥艺术家Frida Kahlo1994年的自画像The Broken Column。在这项工作中，卡萝根据自己裸体描绘她的背部支撑，她长长的黑色的头发和她的金属流动脊柱暴露出来。Kahlo作品的中心 是一个终身脊髓损伤的不幸意外，“在她的许多画像的痛苦是多方面的”馆长Elisabeth Millqvist解释为”身体和心理-爱情和背叛 “
Antoni’s piece is at once an homage to Kahlo and an exploration of chilhood rooms and collections. In its reworking of canonical images, Antoni embodies the focus of the historically-bent first chapter of the exhibition.
Janine Antoni, Inhabit, 2009, digital C-print, 304 x 191 x 7.5 cm. Courtesy Luhring Augustine.
Another piece working with history and personal histories is Matts Leiderstam’s self-portrait, Sarcophagus. Comprised of 84 acrylic paintings, Leiderstam’s canvases lean against one another towards the wall. In denying access to the viewer, the artist forsakes his own physical description. Taken singularly, each painting depicts volcanic eruptions, and refer to what the artist names “the powerful and fatal sexual eruptions” that led to the AIDS crisis. Grouped together, the paintings take the form and length of his own coffin, and the jar resting on top is made to resemble a vase available for mourners at graveyards. In this work, Leiderstam refers to death and life’s fragility, and in so doing, nods to the tradition of memento mori paintings popular in the seventeenth-century Netherlands. In depicting skulls or skeletons as part of their compositions, artists provided viewers with a reminder of their mortality. Some paintings even use the inscription “Ars Longa Vita Brevis” – art is eternal, life is short. In this sense, artists were able to imply their craft’s eternity; while the viewers’ fleeting lives will pass, the artwork will endure. Gabriel Orozco’s Black Kites Perspective can also be read as such.
Matts Leiderstam, Sarcophagus, 1994, 84 paintings, acrylic on canvas, ceramic cup, 75 x 95 x 173 cm.
Gabriel Orozco, Black Kites Perspective (right), 1997, digital C-print, 41 x 51 cm. Courtesy of Marian Goodman.
Boo Ritson’s Cindy (pictured above) takes as its portraiture technique something very plastic: he paints directly on his subjects and then photographs them. The result is disorienting: we see the individual, under the paint, but the facial features are general. The work is both the painting and the photograph, which both hides and exposes. Boo Ritson’s subjects look cooly at us behind their sunglasses; their faces don’t show expectation, hate, sorrow, anger, fear, or happiness. In that sense, these erasure of ephemeral feelings can also be seen in relation to memento mori.
Ulf Rollof reworks the classical vase of antiquity with his highlighter-yellow sculpture Container. In a break from traditional portraiture, the artist takes just one body part as his focus – the molds of over twenty women’s breasts are used as a decorative border of his vase. Cindy Sherman finds her home in this chapter as well.
Foreground: Ulf Rollof, Container, 2001, wax, titanium pigment, 50 x 110 x 110 cm.
Uta Barth, Untitled (05.17), 2005, C-prints, mounted, four parts, 61 x 64 cm. Photo by Christer Carlsson, courtesy of Andréhn-Schiptjenko.
Anna Camner, A Chilling Tale of The Ever Circling Dragon, 2005 – 2006, oil on plexiglass, 41.5 x 41.5 cm.
Annika von Hausswolff, Hey Buster! What do you know about desire?, 1995, C-print, 22 x 28 cm.
L to R: Christina Ödlund, Phenomena, 2009, pencil on paper, 53 x 58 cm; Gunnel Wåhlstrand, Mother Profile, 2009, ink-wash on paper, 102 x 72 cm; Annika von Hausswolf, Eyewitness, 1997, C-print, 25 x 19 cm.
The second chapter deals with creative spaces. It was born from, as curator Tessa Praun explains, the best part of her job – the studio visit. The artist’s studio has long been the subject of fascination for art lovers, curators, and collectors alike. “The studio is the place where ideas and creative momentum meet practical processes, and in some cases,” as in the case of Karin Mamma Andersson, “it is the space itself that inspires creativity.” In Studio (2007), the viewer is allowed a glimpse into the artist’s creative space, and, as such, mind. The typical studio one might imagine – a mess of paints and papers, the physical manifestation of a disorderly genius mind – comes to life. Andersson also brings a chair from her studio into the installation, and the 3D object makes tangible that at which the 2D can only hint.
Karin Mamma Andersson, Studio, 2007, acrylic and oil on panel, 149 x 72 cm.
Chair from the artist Karin Mamma Andersson’s studio.
As one moves between the works, borders between real, fictitious, and mental spaces blur and give glimpses of the stories inherent in all the works. In Jens Fänge’s Nachtspiel, the walls themselves become the studio surrounding the viewer. A nod to trompe l’oiel painting of classical origin, a “trick of the eye” which employs realistic imagery to create an optical illusion. Surrounded by a studio, the viewer is suddenly taken out of the comfortable position as history-tracer and put in the position of the creator. The viewer is challenged to create.
Jens Fänge, Nachtspiel, 2007, wallpaper.
Jockum Nordström, Guitarplayer, The Readers, The Middle-Age, The Table – four scenes from pop up box By and to Jockum. Seven scenes that will be produced later this fall in an edition of 25 by Christophe Daviet-Thery Livres d’artistes et éditions, Paris.
Christine Ödlund, Thought-Form, 2009, installation with DVD, wood, styrofoam, 260 x 150 cm.
Ann-Sofi Sidén, Who Told the Chambermaid?, 1998, DVD installation with 17 channels, black and white, monitors, a surveillance camera.
The third and final section is arranged by Richard Julin, who spent generous time conceiving of and constructing a platform in the lower level of the institution, in which objects could be collected and seen. Through the construction of this labyrinth, Julin is able to evoke an exploratory space in which conversations can take place between viewers, between the viewer and the objects, and between the objects themselves.
Surprising juxtapositions of seminal minimalist works with newer installations facilitate reinterpretations of older works and provide context for new ones. Precious objects, such as Walter de Maria’s stainless steel High Energy Bar and and Gerhard Richter’s shining metal Cross reside alongside video works in an encapsulated viewing area. A large, round seating area provides a comfortable platform for multiple viewing angles. Swedes mingle with Americans; Israeli video artist Absalom shouts in silence from his interspersed screens.
To Julin, exhibitions mean “people encountering ideas in the shape of artworks,” and he strives to create an exhibition architecture “in which you as a visitor can experience the art in a spatial environment that comes from the works themselves.” The associative nature of the installation hopes to “create the joy of discovery in visitors similar to a collector’s enthusiasm.”
Installation view, Thrice Upon a Time.
Christian Boltanksi, Reliquaire, 1989, 114 tin boxes, three metal drawers with black and white photographs, three electric lamps and wire, pieces of fabric, 390 x 46 x 66 cm.
The title of the exhibition, a play on the classic fairytale opener “Once Upon a Time,” alludes both to the institution’s name, as well as the three-fold story occuring within the show. Taken one by one, the chapter divides create links between objects which better allow them to tell their stories. It is up to the viewer to decide whether or not these links are cohesive. But taken as a whole, this all-encompassing exhibition underlines the richness of Magasin 3′s collection, and proves that “the stories and ancedotes are more important than the objects themselves.”
Magasin 3 Stockholm Konsthall is a privately funded art space with a collection of approximately 600 works. Founded in 1987, it filled a gap in the national scene and quickly became one of the most important spaces for exhibiting mid-career and internationally-established artists. Magasin 3 is part of a collaboration of FACE (Foundation of Arts for a Contemporary Europe), a newly formed group of five European arts nonprofits that also includes Athens’s DESTE Foundation, the Ellipse Foundation of Cascais, Portugal, Fondazione Sandretto Re Rebaudengo of Turin, Italy, and Paris’s La Maison Rouge.
- J. Lindblad
Related Links:
Exhibition Site [Magasin 3]
Picks & Reveals: Installation Images [Magasin 3]
Diary: Hello Dali [Art Forum]
Art Splash: Stockholm [Contemporary Art Links]
Scene and Herd: Swedish Dish [Art Forum]
Investigations of a Dog – coming to Magasin 3 in Spring 2011 [Art Info]
