Rockbund Art Museum 上海外滩美术馆

Marine Hugonnier (Paris, France, 1969)

Ariana, 2003, HD video, 16:9, color, sound, 18'36''. Courtesy of Sandretto Re Rebaudengo Collection

The film details artist’s travel to Afghanistan in the summer of 2002. The artist, set out with her companions, seeks to reach the Pandjsher Valley, located in the northeast of the country; however, Afghan authorities deny access to the area due to its strategic value: filming this landscape becomes a way of controlling it. Although Hugonnier finally obtains permission to reach a TV hill overlooking Kabul, she chooses to turn the eye of her movie camera elsewhere. This film investigates the relationship between landscape and history, and shows how our perception is always influenced by political and cultural preconception.

The Last Tour, 2004, HD video, 16:9, color, sound, 14'17''. Courtesy of Sandretto Re Rebaudengo Collection

The film takes place in an imaginary future in which natural sites are closed to the public in order to preserve them from mass tourism. As the title says, the spectator is invited to take a last tour of the Matterhorn National Park in Switzerland, both overland and on a balloon. In this film, the editing juxtaposes shots of the Swiss mountains with those of Disneyland's roller coaster, which is curiously called Matterhorn. In today's experience of tourism, the landscape always offers itself as a pre-built image, as something that is difficult to avoid, and the feeling of a déjà-vu is common even in the most exotic situations.

Traveling Amazonia, 2006, HD video, 16:9, color, sound, 23'52''. Courtesy of Sandretto Re Rebaudengo Collection

The Trans-Amazon Highway was a huge road network project which aimed to connect the whole territory of Brazil from east to west. The construction begun in the 1970s under the military dictatorship and was left unfinished. The film documents the artist's attempt at making a tracking shot along a specific point of the road, with the help of local workers and by resorting to the same materials that were used at that time. In the camera shoot, the process of rail building alternates with the voices of several inhabitants expressing their point of view on the Trans-Amazon.

These three works constitute a film trilogy—shot in Afghanistan, in the Swiss Alps and in Brazil—devoted to the anthropology of images and ways of seeing.

《阿里亚纳》，2003 年，16:9 高清彩色有声单频录像， 18 分36 秒

由山德雷托·雷·雷包登戈基金会收藏

影片详述了艺术家 2002 年夏天的阿富汗之行。艺术家与同伴一起，前往阿富汗东北部希望俯拍潘杰希尔山谷却遭到当局禁止。她意识到，拍摄风景是某种形式的控制权。获许登上一座电视塔后，她选择了转开镜头，不去俯拍当地城市。影片探究了风景与历史的关系，展现了我们的感知无时无刻不受到政治和文化成见的影响。

《最后的巡礼》，2004 年，16:9 高清彩色有声单频录像，14 分17 秒

由山德雷托·雷·雷包登戈基金会收藏

影片故事发生在想象的未来世界。为了避免大规模旅游的破坏，自然景观将不再对外开放。观众受邀最后一次游览瑞士的马特洪峰国家公园，包括地面游览以及乘坐热气球。影片中，瑞士的山峦和迪士尼乐园的“马特洪”过山车放在一起。在当下的旅游体验里，风景总是以预先构建的形象呈现，最陌生、新鲜的风景也有种莫名的熟悉感。

《亚马孙之旅》，2006 年，16:9 高清彩色有声单频录像，23 分52 秒

由山德雷托·雷·雷包登戈基金会收藏

泛亚马孙高速公路是贯穿巴西东西的巨大公路网工程 ，从上世纪七十年代军政府独裁时期开始修建，但迟迟未能完工。影片记录了艺术家在当地工人的协助下，试图使用和当时筑路相同的材料，在公路的某一点铺设并拍摄一个滑轨镜头。建造滑轨的画面外时不时传来当地居民的声音，他们在表达自己对泛亚马孙公路的看法。

三件作品属于一部电影三部曲——分别在阿富汗、瑞士阿尔卑斯和巴西拍摄——专注于影像和观看方式的人类学。

Marine Hugonnier, is a Franco-British filmmaker and artist. She lives and works in London (United Kingdom). Informed by her academic background in philosophy and anthropology, Marine Hugonnier's films explore the "politics of vision", referring to a belief that images are inextricably bound to the historical, social and cultural legacies. Weaving history, geography and narrative her works (films, work on paper, sculptures and photography) helps us understand how our perception is influenced by pre-existing political and cultural conditions.

Larys Frogier is the Director of the Rockbund Art Museum (RAM) in Shanghai. Curator, critic and art historian, he is involved in artistic and social challenges in post-global contexts where ongoing social, economical, cultural transformations demand new ways of interrelations, citizenship and reinvented creativity.

He curated numerous exhibitions and published extensive essays on the works of international artists: Adel Abdessemed, Nan Goldin, Felix Gonzalez-Torres, Paola Pivi, Ugo Rondinone, Wang Du, Yang Jiechang. Larys Frogier taught art theory, history of art and curatorial studies at the University of Rennes, while he was also researcher at the École des Hautes Études en Sciences Sociales (EHESS) and at the Archives for Art Criticism.

Previously the Director of the contemporary art centre La Criée in Rennes (France), he curated long-term projects (symposiums, residencies, exhibitions, publications) which question the links and ruptures between broadening transcontinental areas. Chair of the HUGO BOSS ASIA ART jury since 2013 at the Rockbund Art Museum, he is conceiving this new award, exhibition and research program as an evolving platform to promote emerging artists and to question Asia as a construction to investigate rather than a monolithic area or fixed identities.

马琳·于戈尼耶1969年生于法国巴黎。生活、工作于伦敦（英国）。

她凭借自己的哲学和人类学学术背景，用影片探索“视像的政治”，并触及到一种观念：影像和景观与历史、社会和文化遗存是牢牢捆绑在一起的。通过历史与景观之间的联系，她的作品通过将历史、地理和叙事作品（电影、纸本作品、雕塑和照片）编织在一起，帮助我们领会到，既有的政治和文化条件是如何强烈地影响了我们的感知。

拉瑞斯·弗洛乔，外滩美术馆馆长。作为一名策展人、评论家与艺术史学家，他深入参与到后全球化语境中的艺术挑战与社会变革中，持续生发的社会、经济与文化转变同时也要求全新的关联方式、公民身份与重新研发的创造力。

他策划了多档展览，发表过多部专著与论文，研究并讨论了来自如下艺术家的创作：费利克斯•冈萨雷斯-托雷斯、南•戈尔丁、波拉•彼薇、乌戈•罗迪纳、王度和杨诘苍。曾任教于法国雷恩大学，教授艺术理论，艺术史和策展课程。他同时也是巴黎社会科学高等学院与艺术批评文献库的研究员。

他曾担任法国雷恩市La Criée当代艺术中心总监，策划过长期的研讨会、驻地、展览与出版物项目，不断挑战广泛的全球地域之间的联结与断裂。作为2013年首届HUGO BOSS亚洲新锐艺术家大奖的评委会主席，他将该项目构想为一个全新的奖项、一场展览与一系列研究项目，作为一个持续演变的平台，推广新锐艺术家，将亚洲作为一个持续的构建和亟待调研的问题而非一个单一的地区和固定的身份。