户尔空间很荣幸地为您带来全新群展，“行为之物：日常的实践”。本次展览将汇集展出由后极简主义时期至今的物向艺术及行为舞蹈。该展览突出了以琼·乔纳斯和圣戈·南古地为代表的具有历史影响力的艺术家，同时，也为新生代艺术家纳迪娅·阿布特、奥卢·奥古纳克，郑亦然及尼可拉斯·里普绍夫提供了展示国际立场的平台。展览讨论了近年来的全球变化如何改变我们对 "日常的艺术 "的认识，并在各具特色的艺术实践之间建立起交错融合的联系。 Hua International is pleased to announce "Performing Objects: Practices of the Everyday," a group show featuring object-oriented art, performance and dance from post-minimalism to the present. The show highlights historically influential artists such as Joan Jonas and Senga Nengundi alongside a new generation of international positions from Nadja Abt, Olu Ogunnaike, Jasphy Zheng, and Niclas Riepshoff. The exhibition is motivated by how the recent global changes have transformed our sense of the "art of the everyday" while establishing interconnections between distinctive art practices. 琼 · 乔纳斯(生于1936年)从后极简主义中出发，容纳“艺术与物性”，将雕塑概念的边界拓展至更广阔的领域。其早期作品大多为艺术影像，在单频道投影作品《有机蜂蜜的视觉心灵感应》（1972年）中，乔纳斯所创造的“电子色情诱惑者”利用镜子和面具构建了一个反射与模糊的空间，对性别角色的缺陷进行了质疑。 Coming out of post-minimalism and embracing both "art and objecthood" as well as the dematerialization of the art object, Joan Jonas (b. 1936) pushed the boundaries of sculpture into an expanded field beyond the horizon of landscape and architecture. Much of her early work consisted of artist films, such as in the single channel projection Organic Honey's Visual Telepathy (1972), in which Jonas's "electronic erotic seductress" uses mirrors and masks to create a space for reflection and ambiguity while interrogating gender character flaws. 同样地，圣戈·南古地（生于 1943 年）在《表演与内外》（1977 年）中将雕塑的形式与即兴行为相结合，通过拉伸扭曲的尼龙网状紧身衣，以一种全新的仿生态雕塑及前卫表演语言，反映了对女性性别的一种僵化预设。 Similarly, Senga Nengudi (b.1943) combines malleable sculpture and improvised movements in Performance with Inside Outside (1977), whereby stretched and contorted nylon mesh tights capture rigid gender expectations in the language of anthropomorphic sculpture and avant-garde performance. 当圣戈·南古地与琼· 乔纳斯将雕塑概念扩展至电影（乔纳斯）或摄影（南古地）所关注的更为广阔的情境之时，本次展览中的新生代艺术家们则选择呈现出或宏大或细微的行为表演，更加模糊不清，甚至难于参透。 While Nengudi and Jonas expanded sculpture into situations attentively captured on film (Jonas) or photography (Nengudi), the much younger artists in this exhibition present performative actions both big and small that are more ambiguous and difficult to decode. 长驻伦敦的艺术家奥卢·奥古纳克（生于1986年），在作品中关注原材料的使用，尤其是木材，这贯穿于他历来的创作中。本次展览奥古纳克将带来为北京量身制作的全新作品《23:15_5Feb20》，五联的碳粉金属丝网印，描绘了集会散去、人走茶凉的情境，作品——尤其是随着时间不短掉落的碳粉——强化了日常生活中的转瞬即逝、脆弱和忧伤。 The London-based artist Olu Ogunnaike (b. 1986) focuses on essential materials in his work, particularly the use of wood, which is central to his practice. He will present a new commission made exclusively for the exhibition in Beijing, 23:15_5Feb20. A five-panel charcoal printing on metal, which depicts the leftovers on a table after an event ended and people have left, the work – particularly the falling off of the charcoal with the lapse of time – intensifies the sense of transience, fragility and melancholy in everyday life. 与此同时，中国艺术家郑亦然（生于1992年）以其富有感染力的雕塑装置唤醒着个体与他者之间隔阂与关联的认识。其系列作品《情书》从2015年起，每一版本以不同形态重制陌生人投递的未寄信。在本次展出的《情书五编》（2021年）里，沟通和信息传达过程中的艰难被重新演绎、放大。面对一个必须以特定方式互动的装置，观者被“强制”以额外的耐心和努力去解读信的内容。以此改写了信息的传递与接收之间的权力关系，同时，也挑战着观看与被观看的权力关系。 Meanwhile, Chinese artist Jasphy Zheng (b.1992) raises awareness of the collective through evocative sculpture. In her new work, love letter No.5 (2021) she reenacts the failure of the process of communication, from a series of works of love letters started in 2015 in which the artist recreated by hand love letters that she asked anonymous people to send to her. The audience is encouraged to read the love letters, which require an extra effort to comprehend, juxtaposing familiarity and foreignness with voyeurism and vulnerability. By which it rewrites the power relationship between the transmission and reception of information, and challenges the power relationship between watching and being watched. 以更为直接的方式表达展览观念的，是艺术家纳迪娅·阿布特（生于1984年）用手工制作的扇子所编排的舞蹈。《扇舞》先后展示于柏林与圣保罗，现在将迎来其在北京的首次演出。编舞基于对表现主义舞蹈（Ausdruckstanz）历史的研究及玛丽·维格曼（Mary Wigman）和鲁道夫·冯·拉班（Rudolf von Laban）的舞谱。表演者在预定的 "舞蹈色彩情节 "中结合扇子的颜色相互配合舞动，而扇子将通过主体性的转变，作为“行为之物”中的主角，展示在画廊空间之中。 In a more direct approach to the exhibition, Nadja Abt (b.1984) choreographed a dance with her hand-made fan props. Fan Dance, which will be performed in Beijing for the third time (previously in Berlin and São Paulo), is based on research about the history of Ausdruckstanz (expressive dance) and dance notations from Mary Wigman and Rudolf von Laban. The performers dance to each other and to the colors of the fans in predetermined "dance-color-episodes". The fans will be exhibited in the gallery and transform their subjectivity as the protagonists in "Performing Objects". 对主体性的关注也是尼可拉斯·里普绍夫的作品特点之一。这位居住在柏林的艺术家创造了一个异体环境，在其中，物品通过其自身形式进行表演。里普绍夫的作品《第三手》（2021年）直接地参考了斯皮尔伯格的经典电影《E.T.外星人》（1982年），以此讨论异化的概念。这些全新为展览而制作的手指进化于2020年曾在柏林展出的早期“ET手指”，它们以纸糊的工艺手法被制成大型的灯具，在创造出亲密氛围的同时，也指向着遥远的宇宙星海。 Concerns over subjectivity also feature in Niclas Riepshoff's work. The Berlin-based artist creates an allopatric environment where objects perform through their own forms. His The Third Hand (Finger I-V) (2021) deals with alienation by taking direct reference from the cult classic Spielberg film E.T. the Extra-Terrestrial (1982). These newly commissioned fingers come out of two earlier "ET fingers" presented in Berlin in 2020. The fingers are made into large-scale paper maché lamps that create an intimate atmosphere that also points to a faraway cosmology. “行为之物”在探索身与物交织的情境中提出了这样的问题：当我们触摸物与身体时，什么得以被转译与交流？当表演者被当作物体，被作为物体而使用，而物体转化为表演者时，后戏剧性的反转倒置又是什么？物体如何在历史、认识与艺术中具有表演性，进而产生社会及政治影响？其中又潜藏着哪些可能性？ "Performing Objects" raises questions about what happens in the intertwining of objects and bodies: What translates and communicates if we touch? What are the post-dramatic inversions, in which performers are used as objects, used by objects, and objects are used as performers? How can objects be performative in history, in epistemology, in art, conducting social and political implications and possibilities latent within? ABOUT ARTIST 关于艺术家 纳迪娅·阿布特 Nadja Abt 1984 年出生于俄罗斯，弗拉基米尔｜现工作生活于柏林和里斯本 Born 1984 in Vladimirovich, Russia｜Lives and works in Berlin and Lisbon 纳迪娅·阿布特在柏林自由大学学习文学和艺术史，并且在柏林艺术大学和布宜诺斯艾利斯大学学习纯艺术。在艺术家的行为表演、影像和绘画作品中，纳迪娅通过文学和电影的引用构建女性主义叙事。她是艺术家团体米歇尔·沃尔塔（Michelle Volta）和b_ books Berlin的一员。她最近参与的展览和行为表演包括 Bärenzwinger，柏林；柏林现代艺术中心，柏林；世界文化中心，柏林。她即将在波尔图的自由港（2021. 09）和里斯本的 Galeria Diferença 画廊（2021.10）举办个展。 Nadja Abt studied Literature and Art History at Freie Universität Berlin as well as Fine Arts at Universität der Künste Berlin and the Universidad Torcuato di Tella in Buenos Aires. In her performances, videos, and paintings, She constructs feminist narratives that reference the world of literature and film. She is part of the artist collective Michelle Volta and b_books Berlin. Recent exhibitions and performances include Bärenzwinger, Berlin; KW Institute for Contemporary Art, Berlin; Haus der Kulturen der Welt, Berlin; Pivô, São Paulo; Casa Triângulo, São Paulo. She has upcoming solo shows at Freeport, Porto (Sept. 2021) and Galeria Diferença, Lisbon (October 2021).