上海外滩美术馆 Rockbund Art Museum

“伊莲娜·海杜克：努拉”是一件混合装置：既是一部制作中的长片电影，也是一场开放的展览。项目的核心在于重新思考美术馆的角色——不再是被动的展示场所，而是真正意义上的“暗箱”：一个累积、投射并传递影像、姿态和欲望的容器。

“努拉”以1990年代南斯拉夫为背景，呈现一个在内战、制裁与恶性通胀中崩解的社会——当货币沦为废纸，所有价值都消解为暴力。故事聚焦三位女性：国家银行绘图师阿努、统计学家玛吉和少女努拉，她们分别沦为造伪币者、妓女和诱饵。通过这些自传式角色，海杜克探讨政治瓦解的美学，刻画出崩溃环境中的心理与经济压力如何塑造人们的幸存方式。当她们的身份随着社会体系瓦解而变化，电影揭示了幸存如何模糊虚构与基建、占有与具身、抵抗与共谋之间的界限。

海杜克的首部长片电影《努拉》在上海外滩美术馆的展览空间中拍摄。2025年5月15日至6月5日，美术馆一楼和二楼空间转变为活跃的拍摄现场，而所有的入馆参访者都是电影生态的见证者。在展览“努拉”的展期内，本项目亦面向公众开放，通过各类项目与表演模糊演员、观众和共谋者之间的界限。

“努拉”的参与者将穿梭于三重交织的系统中：想象——成为角色；行动——在展览中参与剧中人物的任务；电影——在项目中被摄录。这些层叠的图像不被美术馆墙体限制，而会随着参访者的身体向外投射、流向城市。

同时，作为系统的一部分，公众将介入“努拉经济”——这一参与式的经济结构嵌入本展览的运转，以“在场”和“互动”为核心概念组织美术馆的入场。每位参访者都会收到“努拉钞票”——前南斯拉夫发行的十亿第纳尔币在“努拉”重新流通，成为公共项目和特别活动的入场券。这一经济系统不仅关乎金钱，更取决于时间、重复参访和互动的意愿。道具助理将在这一交换体系中协助参与者，邀请其化身角色并予以引导。在整个框架内，交换变成一种合约形式，人与物皆被赋予生命、欲望与能动性。

《努拉》改编自艺术家与布莱基·贝西尔合著的自传体小说，由电影摄影师曼努埃尔·阿尔贝托·克拉罗（《忧郁症》《反基督者》）指导制作，而作为展览主办机构的上海外滩美术馆也在这个过程中深度参与，塑造了项目。在此，美术馆既是创作现场也是作品主体：它化身电影工作室、替代经济系统，以及一种力图回应其参访者的环境。在价值的概念动摇之际，“努拉”邀请我们询问：我们能否以不同的方式产生欲望，而美术馆又能否成为探讨这一问题的实验场。

Irena Haiduk: Nula is a hybrid apparatus, a feature film in production and an active exhibition. It resituates the role of the museum as a camera in the most literal sense of the word. Not a passive site for the display of sense objects, Nula is a chamber for the accumulation, projection, and transmission of images, gestures, and desires.

Set in 1990s yugoslavia, Nula depicts a society unraveling under the weight of civil war, sanctions, and hyperinflation. Currency becomes meaningless and all value dissolves into violence. The film follows three women— Anu, a national bank illustrator; Magi, a statistician; and Nula, a teenager—who become a forger, a prostitute, and bait. Through these characters, Haiduk confronts the aesthetics of political breakdown and the pressures, psychological and economic, that shape how people survive under collapse. As their identities shift in response to a disintegrating system, the film reveals how survival blurs the line between fiction and infrastructure, possession and embodiment, resistance and complicity.

Filming for Nula, Haiduk’s debut feature-length film, will take place from may 15 to June 5, 2025, inside the exhibition at the Rockbund Art Museum (RAM). During this period, the museum’s first and second floor will function as active production sites, where all visitors entering the space are witnesses to the film’s ecology. Throughout the exhibition’s full run, the project remains open to the public through a series of programs and performances that invite visitors to take on shifting roles, blurring the lines between audience, actor, and accomplice.

These participations unfold across three overlapping systems: the imagined, as visitors adopt a character; the enacted, as they perform tasks within the set; and the cinematic, as scenes are recorded. The images that emerge from this process are not confined to the museum. They are projected outward, dispersed into the city, and carried by the bodies that move through the space.

As part of this environment, visitors navigate the Nula Economy—a participatory financial structure embedded in the project that organizes access around presence and engagement. Upon entry, each guest receives a Nula Bill, a reissued 1 billion dinar note from the former yugoslav state, which they use to attend programs and events. This economy is not based on money alone, but on time, return visits, and willingness to act. Prop assistants introduce participants to this exchange system, inviting them to take on a character and guiding them through its terms. Within this framework, exchange becomes a form of contact, where people and objects are treated as alive, desiring, and agentic.

Nula is based on an autofictional novel co-written with blakey bessire, with production led by cinematographer manuel alberto claro (melancholia, antichrist). The project is also shaped by the institution that hosts it. At ram, the museum becomes both a site of production and part of the narrative itself. It functions as a studio, an alternative economy, and an environment that must respond to the people moving through it.

At a time when ideas of value are shifting, Nula asks how we might desire differently, and whether a museum can offer space for that question.