阿什·莫尼兹（Ash Moniz）在上海外滩美术馆的展览“缝隙以光为形”通过跟踪一次延误的运输、一种拒绝发声的姿态、一次控制的失效来提出一种关于“缺失”的政治学。和莫尼兹紧密对话的策展人吴彦将此次讲座命题为《双重否定：缺席的能动性》。
艺术评论家罗莎琳·克劳斯（Rosalind Krauss）将雕塑的“双重否定”描述为一种远离再现的转向：雕塑不再是对空间的描绘或对时间的象征，而是进入了时间与空间的现实之中。大地艺术、现场装置以及其他“扩展领域”的实践，不再是对结构的再现，而是作为现实中的结构本身被体验，占据着场地并直接塑造经验。
莫尼兹的展览以另一种方式延续了这种“双重否定”。其作品并不是对缺席、延迟或沉默的再现，而是将它们加以呈现，并在其中栖居。通过观察真实系统中的裂缝，艺术家点出了这些改变身体、声音与团结方式的现实条件。吴彦的讲座将强调从“再现缺席”走向“进入缺席的现实”的转变，在这里，缺席本身是一种积极并能生成新可能的力量。
关于讲者：
吴彦是一位生活在多伦多的策展人、写作者和译者，研究和实践方向关注当代艺术、建筑与公共空间的交叉领域。目前任职加拿大万锦市公共艺术策划，同时在多伦多大学建筑、景观与设计学院攻读博士学位。2016–17 年，她担任多伦多大学美术馆驻馆策展人，期间策划了实验建筑竞赛与展览《Making Models》，疫情期间的屏幕空间委约项目系列《Immaterial Architecture (online)》，以及展览《苗颖：精神实用宝典》。她还曾任首届上海城市空间艺术季（2015）助理策展人，并担任第五届深港城市\建筑双城双年展（2013）加拿大馆的联合策展人。
受隋建国艺术基金会委约，吴彦主持合译了罗莎琳·克劳斯的《现代雕塑的变迁》、露西·利帕德的《六年》、丹·格雷厄姆的《摇滚我的信仰》和伊夫-阿兰·博瓦与罗莎琳·克劳斯的《无定形：使用指南》。受香港M+委约，她合译了约翰·凯奇的《不想谈论任何有关马赛尔的事》，并为线上展览《马塞尔·杜尚：手提箱里的盒子》撰写了中文文本。
目前正在展出的项目包括 Tom Dean: GOOD-BYE（Robert McLaughlin Gallery，加拿大奥沙瓦）、Scott Rogers: Between Leaf and Light（Royal Victoria Regional Health Centre，加拿大巴里），以及 Xiaojing Yan: The Underground Sun（Milliken Mills Park，加拿大万锦）。吴彦是多伦多市公共艺术委员会成员，并于近期加入多伦多大学美术馆咨询委员会。
1980 至 1989 年间，吴彦与父母以及另外八户人家共同生活在如今上海外滩美术馆所在大楼的六楼。
Rosalind Krauss described sculpture’s “double negative” as a move away from representation: no longer depicting space or symbolizing time, but entering the very reality of time and space. Earthworks, site installations, and other expanded practices were not images of structures but lived structures themselves, occupying ground and shaping experience directly.
Ash Moniz’s exhibition at the Rockbund Art Museum takes up this double negative in another register. Their works do not represent absence, delay, or silence—they stage them, they inhabit them. A delayed shipment, a refusal to speak, a breakdown of control: these are not metaphors but actual cracks in systems, real conditions that transform how bodies, voices, and solidarities move.
This talk, Double Negative: The Agency of Absence, curator Yan Wu who has been in close conversation with Moniz will explore the shift—from representing absence to entering it as reality—where absence itself emerges as an active and generative force.
About the speaker:
Yan Wu is a curator, writer, and translator whose work explores the intersections of contemporary art, architecture, and public space. She is currently the Public Art Curator for the City of Markham and is pursuing a PhD at the Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto. She was Curator-in-Residence at the Art Museum at the University of Toronto (2016–17), where she organized the experimental architecture competition and exhibition Making Models, the series of commissions for Screen Space Immaterial Architecture (online), and Miao Ying: A Field Guide to Ideology. She was also Assistant Curator for the inaugural Shanghai Urban Space Art Season (2015) and Co-Curator of the Canada Pavilion at the 5th Bi-City Urbanism/Architecture Biennale in Shenzhen, China (2013).
Commissioned by the Sui Jianguo Art Foundation, Wu has co-translated Passages in Modern Sculpture by Rosalind Krauss, Six Years by Lucy Lippard, Rock My Religion by Dan Graham, and Formless by Yve-Alain Bois and Rosalind Krauss into Chinese. For M+ in Hong Kong, she co-translated John Cage’s Not Wanting to Say Anything About Marcel and contributed the Chinese texts for the online exhibition Marcel Duchamp: Lessons for a Creative Life from Boîte-en-valise.
Her current exhibitions include Tom Dean: GOOD-BYE at the Robert McLaughlin Gallery (Oshawa, Canada), Scott Rogers: Between Leaf and Light at the Royal Victoria Regional Health Centre (Barrie, Canada), and Xiaojing Yan: The Underground Sun at Milliken Mills Park (Markham, Canada). Wu is a member of the Toronto Public Art Commission and recently joined the Advisory Board of the Art Museum at the University of Toronto.
From 1980 to 1989, Wu lived on the sixth floor of the building that now houses the Rockbund Art Museum, together with her parents and eight other families.
