『欧洲艺术家展览系列』 Shannon Finnegan 香农芬尼根

Original Dudu Du Laboratory 2022-10-20

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#毕业十年 65 个

#新·艺术生产者 74 个

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#德意志归来，欧洲艺术家工作室，柏林画廊周 88 个

『欧洲艺术家展览系列』，是Du/laboratory以主题性策划发布的一个推送。我们将分享艺术家的艺术实践和展览。Du/laboratory后续也会发布不同主题性推荐。

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Shannon Finnegan
Slower
Deborah Schamoni, Munich
May 7 – June 17, 2022

香农·芬尼根减慢
Deborah Schamoni，慕尼黑

2022 年 5 月 7 日至 6 月 17 日

Shannon Finnegan是一位美国多学科艺术家，位于美国纽约布鲁克林。Finnegan 的工作主要致力于提高人们对无障碍环境的认识，艺术家的工作重点是在交通不便的空间中的残疾文化。Finnegan 最出名的是他们的抗议作品，例如批评缺乏座位的艺术画廊长椅和为那些无法进入楼梯的人提供的休息室。

Shannon Finnegan is an American multidisciplinary artist located in Brooklyn, New York, United States. Working primarily on increasing perceptions of accessibility, Finnegan's practice focuses on disability culture in inaccessible spaces. Finnegan is most known for their protest pieces such as art gallery benches criticizing lack of seating[1] and lounges for those who cannot access stairs.

阿马尔·杜布隆：

减慢这是一个关于时间划分的展览。香农·芬尼根的作品往往为他人花时间欣赏艺术品提供了条件。无论他们对基础设施的评论多么强烈，芬尼根公司的长椅和座位都需要一些时间。他们将REST状态集合为一个执行一致的组表达式：“如果您同意，请在这里休息。”“如果您同意，请在这里休息。”

这一邀请可能是松散的艺术传统的一部分--历史上的契约主义，以各种可能的形式被要求“参与”。此外，这也是一种包括所有可能形式的残疾的文化，它也延伸到所有那些不允许(或从不)承认自己是残疾人，但也许认识到休息感觉有多好的人，因为他们可能会与他人分享这种感觉。

这种感觉的习惯性体现在提供一个座位，并由上面所画的文字命名，无论你是否同时到达那里，出入都是一个聚会场所。这样，芬尼根&apos在画廊的长椅就像另一个系列的项目一样，防静电俱乐部酒廊拒绝的人，进入一个无法进入的建筑物，而是装修一个房间，留在外面，在他人当前或默示的社会中等待或抵制某些东西。

音频描述也需要时间。它不仅提供了对视觉媒体的访问，而且还提供了对它们的访问；描述的传递允许感知以其所有的社会性和多样性表现出来，比如缓慢的.jpg传输。描述需要扩展它的内容：思考、接受、传递、吸收的时间。在这种情况下，传递的不是视觉的：“访问画廊的最近历史”，用香农的话说。香农让黛博拉向他们描述以前的展览。关于黛博拉，其他艺术作品和这个地方，你从未去过的地方，了解。这也是一种方法，黛博拉要做到这一点。加快速度，一“建立团体展览，而不再将物体带回房间。

在这种情况下，个展是一个有趣的问题。所有这些作品基本上都依赖于其他人的艺术作品，而这些作品似乎都是为他们服务的。就其功能和基本原理而言，长椅，尤其是音频描述，取决于其他作品的存在，它们既不提供框架，也不提供评论，而是一种变化的暂时性。

因此，将这些作品“单独”展示，而不是作为对一个群体的支持或支持是非常微妙的。此外，坐在画廊里的感觉与在博物馆或其他公共机构里的感觉不同。你经常在接待的眼皮底下来来往往，有一种阴郁的感觉，那就是走进一家小商店，那里的东西是出售的，而不是自己的。

这种环境导致了某种形式的站立，一种仓促的观看行为，就像你礼貌地向展览点头一样。没有广泛的、匿名的机构走廊，也没有被忽视的地区，既没有自助餐厅，也没有咖啡馆。换句话说，没有控制的步骤，没有间隔。银行给艺术作品展示时间，还是艺术作品也有动力放慢脚步，坐久一点？在公共场合休息是很困难的，如果没有重点的话。

但是这里是你能看到的唯一的视觉物体，每天的手表走得太慢，以至于你几乎看不出它们是否工作。据芬尼根称，该公司的网站市场日表是给养老金领取者和海滨别墅的新礼物，也是为失忆者提供的访问工具。芬尼根第一次在朋友家里看到了这样的手表，并立刻觉得它是一种认可，是一种残疾文化的单一护身符。他们买了一个，并在大流行爆发期间与它一起生活。为了弄清楚她是否还在跑步，他们有时不得不离开房间，然后再回来。“残疾文化的对象是什么？”芬尼根问。伊克·登克和卡洛琳·拉扎长期停留（2019年）一个小，在金属臂上安装的监视器，在有线电视直播中，如何在医院病房中找到它们。残疾的纹理和经验是什么，常常在彼此隔绝的空间和时间之间相互分隔？

这样，每日手表就会让人想起Deborah&APOs对一件目前还没有展出的艺术品的描述，对于那些不能亲自在场的人来说。有一种被扼杀的悖论，即世界上“最大的少数”残疾人也许是他们在结构上最孤立、最孤立和最强大的例外：尽管如此，几乎没有什么比身处许多残疾人中间感觉更好了。CRIP时间发生在实际身体和精神的速度和变化的切分过程中。但是，它也是一个又一个的延迟，是思念自己和失去时间的多普勒效应，即使是一个接一个地发生。我的学生丹妮·哈尔沃森(Dani Halvorson)正在进行一个项目，内容是写一封信，描述我们是否在一起的太空时间，作为一种DIP练习；我的朋友朱莉·托伦蒂诺(Julie Tolentino)谈到了如何接收语音信箱磁带，其中有来自去世朋友的信息。减慢这是一个展览，在管理步骤中，也就是说，这是关于间隔：这可能是感知或安静的间隔，但也有间隔，我们所经历的，即使我们似乎不在一起。

Amalle Dublon Slower is an exhibition that is about the classification of time. Shannon Finnegan's works often provide the conditions for spending time with artworks of others. But how pronounced your comments on infrastructure may be - especially Finnegan's benches and seating time. They gather silence states to a performative consent group expression: "rest here if you agree." - "Rest" here if you agree. "The invitation may be part of a loose tradition of art-historical contractualism, from All sorts of forms, by means of which one was requested about" participation ". In addition, this is also an all possible forms of disability involving culture, which also extends to all those who (yet) do not (or never) allow themselves to identify themselves as a hindered, but maybe it would like to acknowledge how good it It feels to rest, as a sensation you may share with others. The commonity of this sensation, which is also implied by providing a seating opportunity and named by the text painted therewith, identifies access than a meeting point whether or not one arrives there at the same time. In this way, Finnegan's benches in the gallery owe the same drive as another series of projects, anti-stairs club lounge that refuses to enter an inaccessible building and instead equips a room to stay outside, in the present or implied society of others waits or a little boycotted. The audio description also takes time. It not only offers access to visual media, but provides access with you; The disclosure of the description allows the perception to appear itself, with all its sociability and variation, such as a slow .jpg transmission. Description requires what it expands: time to think, receive, transmit, absorb. In this case, what is passed is not visually: "Access to the latest history of the gallery" in Shannon's words. Shannon Bat Deborah to describe them former exhibitions, partly around Deborah, the other works of art and this place where they have never been to get to know. It was also a method of making Deborah to throttle the tempo and build a "group exhibition without returning objects back to the room." In this context, a solo exhibition is an interesting problem. All of these works are basically dependent on the works of art of other people, in whose services they seem to stand. As regards their function and the principle underlying principle, the benches and, above all, the audio description relies on the presence of other works, which they offer neither a framework nor a comment, but rather a changed temporality. So it is paired to issue these works "for yourself alone" instead of supporting a group or supported by this. In addition, it feels different to sit in a gallery than in a museum or in another public institution. You come and goes frequently under the views of the reception with the second felt, to enter a small shop, in which things stand for sale, but not for a self. This environment has a certain kind of standing result, a kind of underrush performance of viewing, As a nod's the exhibition politely too. There is no extensive, anonymous through-migration institutional gears, no neglected areas to spread, neither a cafeteria nor a coffee shop. In other words, there is no control of the steps, no intervals. The bank gives the work of art time to unfold, or is the work of art perhaps the motivation to decelerate to add a little longer? It is difficult to rest in public without having something to make his mind. But here are the only visual objects that can be viewed, the day clocks that go so slowly that you can hardly tell if they work at all. The manufacturer's website, So Finnegan, markets day clocks as novel gifts for pensioners and beach houses, but also as access tools for people with memory loss. Finnegan saw such a watch for the first time in a friend's parents' home and felt immediately attracted to himself, as a kind of recognition, as an isolated amulet of disability culture. They bought one thing and lived during the outbreak of the pandemic. To find out if they were still running, they sometimes had to leave the room and return later. "What are the objects of disability culture?" Asks Finnegan. I think of Carolyn Lazards Extended Stay (2019), a small, a small, mounted on a metal arm mounted monitor, where live cable TV is running, as you can find in hospital rooms. What are the textures and experiences of the disability, which are often shared with each other for violently separate rooms and times? In this way, the day clocks are reminiscent of Deborah's descriptions of a work of art that is not exhibited, for people who could not be personally present there. There is the crushed paradox, consequently disabled people, the "biggest minority" of the world, perhaps nonetheless their structurally isolated, discontinued and most strongest: and that regardless of the fact that Almost nothing feels better than being in the midst of a lot of disabled people. Crip time occurs in the pace and in the variable syncopation of actual body and ghosts in the process of combating. But it is also the long delay, the Doppler effect of the missing and the outside-time-time combination, even if one is followed by the other. My student Dani Halvorson works on a project on the letter with his descriptions of space times when we both are or not, as a Crip practice; My girlfriend Julie Tolentino talks about picking up voicemail cassettes with messages from friend, who died. Slower is an exhibition that is the control of steps, i. It's about intervals: the like intervals of perception or rest, but it is also intervals through which we overlap, even if we do not talk about there seem to be.

Shannon Finnegan 一生都是残疾人，但在成长过程中却感到与残疾人社区隔绝。他们在行走和站立时会感到疼痛，因此专注于持续休息的需要。

Finnegan 于 2011 年毕业于卡尔顿学院，获得工作室艺术学士学位，并立即开始在 Wassaic 项目工作至 2014 年

2018 年，芬尼根获得了永利纽豪斯奖。并参加了 Art Beyond Sight 的 Art + Disability Residency

2019 年，Finnegan 是 Eyebeam 的驻地艺术家。他们的作品曾在 C 杂志、美国艺术、过敏症和纽约时报上发表。

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