上海外滩美术馆 Rockbund Art Museum
百物曲 An Opera for Animals
22 June 2019 – 25 August 2019
上海外滩美术馆与香港Para Site艺术空间很荣幸地宣布,最新群展“百物曲”将于2019年6月22日在上海外滩美术馆正式开幕。本次展览呈现了53位挑战艺术与其他领域间明确边界的创作者,包括手艺人、治疗师、教师、研究者、电影制作人、舞蹈编导、活动家以及诗人。展览将持续至2019年8月25日。
“百物曲”以“歌剧”的不同形式与发展兴衰作为楔子,展开探讨表演和想象在不同时期及语境中的意义。作为一种艺术形式,歌剧尝试融合多种美学,不论神话的创造,事件的撰写,或乐曲的编排,新技术的发明,皆与其密不可分。如同博物馆和展览的发展经历了漫长而错综的历史,歌剧亦逐步发展成为另一种集体仪式。其通过控制每个细节和桥段来主导观众体验的形式,正如我们当代制度化社会的隐喻。展览以剧场表演为入口重新审视人类的行为,透过观察世界舞台上不同的文化和知识系统,讨论殖民时代早已消亡的当下,一幕幕保护文化异质性的抗争如何仍在上演。
“高雅文明”往往将不为其所熟知的地域文化视为令人恐惧的对立面。然而事实上,现代文明与各原始文化和价值系统始终互相渗透,彼此汲取灵感。展览所欲呈现的观点,在于检视与动物、自然等紧密相连的原始文化何以在现代性机构中再次显现,同时梳理相异文化与知识系统在互相渗透的过程中,如何产生变异以及想象新的可能性。展览自美术馆各楼层纵向延伸,带领观众在别样的“剧场环境”中对一系列相关主题展开探索。
本次展览是上海外滩美术馆与香港Para Site艺术空间之间长期合作项目的一部分,由两个机构共同策划和举办的下一档展览将于2020年9月在香港Para Site艺术空间开幕。
上海外滩美术馆与香港Para Site艺术空间均是亚洲领先的艺术机构。香港Para Site艺术空间的成立旨在培养艺术人才和推动跨文化交流,其对于亚洲以至全球化社会议题的探讨,具有深入并广泛的研究。同样地,上海外滩美术馆一直以来致力于策划大胆创新的项目,以多样的展览及公众活动不断促进本土文化与国际间的交流与对话。此次机构合作探索剧场表演与研究间的联系,关注从历史至当代的不同艺术形式与实践,在一个语境化和再语境化的过程中,突破机构既有的局限。
Rockbund Art Museum, Shanghai and Para Site, Hong Kong are pleased to announce the opening of An Opera for Animals on June 22, 2019 at Rockbund Art Museum Shanghai. The exhibition runs through to 25 August 2019 and features 53 artists who challenge existing boundaries between art and other disciplines, including artisans, healers, teachers, researchers, filmmakers, choreographers, activists and poets.
An Opera for Animals takes the history of different versions of opera as a departure point to explore both contemporary and traditional uses of performance, fantasy, and group spectacles in relationship to the environments that they inhabit. Intimately connected to the making of myths, the fabrication of events, orchestration, and invention of new technologies, opera emerged seeking to synthesize different aesthetic forms into a unified experience audiences could immerse themselves within. Like the complex history of the museum or exhibition, it has gradually developed into another collective kind of ritual. At the height of its development in the West, opera increasingly became conjoined to the vision and forceful influence of colonization, and we re-contemplate the medium as a compromised interface that precipitated struggles with indigenous worlds and other knowledge systems.
Despite the fact that colonization has seemingly ended in many parts of the world, the struggle to preserve indigenous forms of heterogeneity still lives itself out into the contemporary age today. This other world outside of what is considered ‘high culture’ has always been a source of fear and intrigue for opera, it has long been an inseparable reservoir of imagination for the medium to replenish itself in spite of its outward ambition to reach and supplant it. Beyond the specter of phantoms in opera, animals and cultural narratives around animals reemerge in the exhibition as extensions to infiltrate and expand the specificity of opera as an institutionalized setting to consider the pattern of the relationship between our modernity and the natural world. Our interest lies in how the medium inadvertently mutated into an expanded stage for other more unpredictable transitions between notions of animality and our humanity. The exhibition at the Rockbund Art Museum will unfold throughout the different levels to offer a different operatic environment to explore these interrelated themes.
The exhibition is part of a long-term collaboration between the two institutions and the institutional exchange will see another exhibition at Para Site, Hong Kong in September 2020.
Rockbund Art Museum and Para Site are leading contemporary art institutions in Asia. Para Site plays a central role in nurturing artistic talent whilst also fostering cross-cultural dialogue and critical understanding of local and international issues in art and society. Sharing this vision, Rockbund Art Museum aims to bridge the local art ecology in Shanghai with Asia and the wider international community. The collaboration between Rockbund Art Museum and Para Site explores connections between performativity and research, considering both historical and contemporary practices, to further the remit of each organization.
展览现场 Installation View





















































作品 Artwork
Chen Qiulin, River, River, 2005
陈秋林, 《江河水》, 2005Ilya Kabakov, A Vertical Opera, 2015
伊利亚·卡巴科夫, 《纵向歌剧》, 2015Julie Buffalohead, You are on Indian Land, 2017
朱莉·布法罗黑德, 《你在印第安的土地上》, 2017Clara Cheung, Lo Ting Toy Story — Salute to my grandmother who was a fish hawker, 2017
张嘉莉, 《“卢亭”玩具故事——向卖鱼的外婆致敬》, 2017Wu Chuan-Lun, Grafrath: A Schäferhund Story, 2018
吴权伦, 《格拉夫拉特:牧羊传》, 2018Fifita Family, Ceremonial ngatu, 1965
菲菲沓家族, 《仪式用ngatu布》, 1965Jes Fan, Forniphilia II, 2018
范加, 《人体家具II》, 2018Zhang-Xu Zhan, Ritual of Cathode Ray Tube, 2011
张徐展, 《阴极射线管的神秘仪式》, 2011Firelei Báez, Ciguapa Pantera (to all the goods and pleasures of this world) , 2015
菲瑞蕾·巴埃斯, 《西卦帕豹(致世间所有美好与幸福)》, 2015Barayuwa Munuŋgurr, Yiḏaki , 2019
巴拉尤瓦·穆农古, 《迪吉里杜管》, 2019Simon Soon, The Tyger and The Navigator, 2019
孙先勇, 《老虎与探险家》, 2019Gala Porras Kim, [Karen] Notes after G. M. Cowan 2 , 2012
加拉·波拉斯·金, 《关于G.M.考曼的笔记2》, 2012Yang Shen, Nocturnal Animals, 2012
杨深, 《夜行动物》, 2012Zhang-Xu Zhan, Zhang-Xu Zhan’s Stomach” Hsin Hsin Joss Paper Store Series Room 001, 2013
张徐展, 《“纸人展——房间”新兴糊纸店灵灵壹》, 2013Clément Cogitore, Les Indes Galantes, 2018
克莱蒙·科吉多赫, 《优雅的印第安人》, 2018Khvay Samnang, Preah Kunlong (The way of the spirit) , 2016
克韦·桑南, 《精神之道》, 2016Cui Jie, Wrong Model, 2017
崔洁, 《错误模型》, 2017Lok Chitrakar, Healing lions on a shingles sufferer, drawn by Lok Chitrakar, 2019
洛克·奇特拉加, 《洛克•奇特拉加在带状疱疹患者身上绘制疗愈灵狮》, 2019Beatriz González, Decoración de interiores (Interior Decoration), 2018
比阿特丽斯·冈萨雷斯, 《室内装饰》, 2018Tim Pitsiulak, Edna , 2012
蒂姆·皮特修拉克, 《快乐》, 2012Ticio Escobar, Fight between the bull and the jaguar at the Arete Guasú festival, 1990
蒂西奥·埃斯科巴尔, 《Arete Guasú节庆中公牛及美洲豹的角力》, 1990Carlo Nasisse, Luka Yuanyuan Yang, Coby and Stephen are in Love (Work in progress) , 2018
卡罗·那瑟斯, 杨圆圆, 《相爱的柯比与史蒂芬》(阶段性呈现), 2018Guo Fengyi, Lugu Lake - If Women Ruled the World, 2002
郭凤怡, Lugu Lake - If Women Ruled the World, 2002Juan Davila, Constanze Zikos, Wallmapu - Valhalla, 2012
胡安·达维拉, 康斯坦策·日科思, 《马普切-瓦尔哈拉》, 2012Gary Ross Pastrana, Rewilding II , 2019
加里·罗斯·帕斯特拉纳, 《回野II》, 2019Angela Su, Wicked Wiccan Wicker Wish , 2019
徐世琪, 《巫》, 2019Kenojuak Ashevak, Untitled, 1962
肯胡克·阿什瓦克, 《无题》, 1962Yee I-Lann, Kerbau, 2007
于一兰, 《水牛》, 2007Lee Bul, Untitled sculpture W1 , 2005
李昢, 《无题雕塑W1》, 2005Heri Dono, Born and Freedom, 2004
赫利·多诺, 《生与自由》, 2004Saodat Ismailova, The Haunted, 2017
绍达特•伊斯梅洛娃, 《萦绕之地》, 2017Chitra Ganesh, Tiger Robot, 2018
奇特拉·加内什, 《机器虎》, 2018Chitra Ganesh, Cat Dancer , 2018
奇特拉·加内什, 《猫舞者》, 2018Chitra Ganesh, Yamari , 2018
奇特拉·加内什, 《冥想神》, 2018Shuvinai Ashoona, Tentacles, 2018
舒薇奈·阿绍那, 《触角》, 2018Ali Cherri, Hybrids E , 2018
阿里·谢里, 《混合物 E》, 2018Haegue Yang, The Intermediate — Adorned Frosty Shield , 2018
梁慧圭, 《中间类型——装饰霜盾》, 2018Wu Chuan-Lun, Grafrath: A Schäferhund Story, 2018
吴权伦, 《格拉夫拉特:牧羊传》, 2018Vivian Ho, Of delicacy and horror , 2012
何博欣, 《细腻而恐怖》 , 2012Candice Lin, The Roots of Industry, 2016
林从欣, 《工业之根》, 2016Adam Nankervis, Mondrian in Excelsis, David Medalla, Manila, 2017
亚当·南科尔维斯, 《蒙德里安佳作,大卫•梅达拉,马尼拉》, 2017Jes Fan, Forniphilia II, 2018
范加, 《人体家具II》, 2018Tao Hui, Pulsating Atom , 2019
陶辉, Pulsating Atom , 2019Jágua-jágua, 1989
美洲豹像, 1989Robert Zhao Renhui, Pulau Pejantan , 2016
赵仁辉, 《Pejantan岛》, 2016Wang Wei, Panorama 3 , 2019
王卫, 《全景3》, 2019Trevor Yeung, Jacuzzi , 2016
杨沛铿, 《极可意》, 2016Lawrence Lek, AIDOL, 2019
陆明龙, 《爱道》, 2019Gabriel Pareyón, A trailer of Xochicuicatl Cuecuechtli (Ribald Flowersong) , 2015
加夫列尔·帕雷永, 《下流花歌》, 2015Narcisa Chindoy, Untitled, 2000
纳西萨·金朵伊, 《无题/Kamëntsá腰带》, 2000Euan Macdonald, 9000 Pieces, 2010
尤恩·麦克唐纳, 《9000件》, 2010Samson Young, Horse Togaku, 2019
杨嘉辉, 《马牛乐》, 2019Kelly Nipper, Smoke, 2019
凯利·尼佩尔, 《烟》, 2019
展览短片 Exhibition Video
对谈 | “百物曲”的红是什么红? Dialogue
公共教育活动 Collective Learning Activities
2019年 6月 22日
22 June 2019RAM表演 | 对谈: 克韦•桑南:《精神之道》
RAM Performance | Dialogue: Khvay Samnang: Preah Kunlong (The way of the spirit)2019年 6月 22日
22 June 2019“百物曲”
An Opera for Animals2019年 7月 5日
5 July 2019艺术家访谈:建筑代谢
Artist Talk: Urban Fictions2019年 7月 19日
19 July 2019RAM放映 : 纪录片《愤怒的因纽特人》(2016)
RAM Screening:Documentary: Angry Inuk (2016)2019年 7月 28日
28 July 2019RAM对谈 : 红:身体档案
RAM Conversation Red: Body as Archive2019年 8月 2日
2 August 2019RAM对谈:Golem:节肢大陆上的感官游戏
RAM Conversation Golem: Sensory Games on the Continent of Arthropods2019年 8月 16日
16 August 2019RAM对谈 : 从古至今:性别之神话
RAM Conversation:The Gender Myth in All Ages2019年 8月 24日
24 August 2019自为之神——神话人物再创作
Re-Creation of Mythological Characters