查看原文
其他

TANK Artist Takeover | More, More, More 艺术家 Art Labor 的艺术旅程



↓ Scroll down for English ↓


作为展览《More, More, More》“艺术家接管计划”的一部分,本周我们邀请了艺术劳动组织(Art Labor)来接管油罐艺术中心的社交媒体平台,与大家分享他们近期的艺术旅程。


This week More, More, More artist collective Art Labor is taking over TANK Shanghai’s social media to share with you their recent artistic journeys.



Art Labor

Instagram: @artlaborcollective

Arlette Quynh-Anh Tran

Thao Nguyen Phan

Truong Cong Tung




几年前,我们将兴趣转向越南农村。在横跨中南部地区的漫长的多日车程中,我们会在马路边的吊床咖啡馆里休息。

 

自1990年代初期的经济繁荣以来,物料、产品和劳动力的运输变得至关重要。高速公路上出现了许多简易的吊床咖啡馆,成为旅客的休息站。客人在吊床上享用饮品,吊床的摇摆运动与长达数小时的交通之中身体持续性的节奏类似,在运态下创造出同步的静止。

 

受到咖啡馆对国家转变的无声见证的启发,我们在城市中的艺术场搭起了吊床咖啡馆。 做越南冰奶咖啡的咖啡豆来源于我们的家人或邻居在中部高地的种植园的收成。炼乳就像那里宜人的风景一般浓郁,而罗布斯塔咖啡豆浓烈苦涩,如同因经济发展导致的迅速变化和自然的流失。


Years ago when we shifted our interest to rural Vietnam, on the many-day long drives across the Southern Central region, we would rest at hammock cafés along the roads.

 

Since the early 1990s economic boom, the transportation of material, products and laborers has become crucial. Numerous modest hammock cafés have appeared on the highways as the resting station for passengers. Drinks are served for guests on hammocks. The swinging movement resembles the constant rhythm of the body during hours-long transportation, creating a simultaneous standstill yet in motion state.

 

Inspired by the café’s silent witnessing of the country's transformation, we assemble hammock cafés in urban art sites. Beans for caphesuada are harvested from our family or neighbor’s plantations in the centralhighlands. While the richness of condensed milk is like the pleasant scenic landscape up there, the robusta is strong and bitter like the rapid changes and loss of nature for the sake of economic development.

 

 隆安省的吊床咖啡馆
hammock café in long an province


艺术劳动组织于2020达卡艺术峰会的吊床咖啡馆
 Art Labor hammockcafé in dhaka art summit 2020


在 Cosmopolis 1©蓬皮杜中心 Hervé Veronese
at Cosmopolis 1 ©Hervé Veronese Centre Pompidou


首尔KF中心的“丛林之盐”展览
 at Salt of Jungle exhibition, KF center in Seoul


 

 

我们想要介绍《嘉莱露水》项目中7位出色的合作者。该项目的灵感来源于嘉莱人民对人类和宇宙的信仰。在他们的存在相关的哲学理念中,人死后将经过许多个阶段,最终回到他们存在的起源;在最后一个阶段中,他们转变为露水(在嘉莱语言中叫做“ia ngôm”),露水蒸发并融入环境,成为一种非存在状态,成为新的存在的开始的颗粒。该项目将嘉莱木雕文化视作和露水的概念同样诗意的和可持续性的。即使嘉莱木雕遭遇挫折,并有消失的可能,我们仍希望它能在别开生面的生活中重获生命。


《嘉莱露水》网站:jraidew.net


We would love to introduce our 7 amazing collaborators from the project Jraidew, which takes inspiration from the Jrai people’s belief in the human and the cosmos. In their philosophy of existence, after death, the human will go through many stages to go back to their existence origin. The final stage is that they will transform into dew (ia ngôm in Jrai language) evaporating into the environment—the state of non-being—the beginning particles of new existence. This project looks at Jrai woodcarving culture as being as poetic and sustainable as their concept of dew. Even though Jrai woodcarving has encountered burdens to survive and may disappear, we hope it will come back to existence under the refreshing life.

 

七位嘉莱本地的艺术家在过去四年间与我们合作,
他们的年龄从20岁到70岁不等
7 Jrai artists collaborating with us in the last 4 years, ranging from the age of 20 to 70s.


雕塑由Aleo制作
sculpture by Aleo


雕塑由Hyet 制作
sculpture by Hyet


雕塑由Kpui Gloh制作 
sculpture by Kpui Gloh


雕塑由Kpui Gloh制作 
sculpture by Kpui Gloh


雕塑由Puih Han制作
sculpture by Puih Han


雕塑由Rcham Jeh制作
sculpture by Rcham Jeh


雕塑由Siu Lon制作
sculpture by Siu Lon


我们与一些嘉莱的艺术家朋友
us with some of the Jrai artist friends


 

 


去年,我们追溯了法国殖民者是如何通过农业地质实验将咖啡带入越南的。之后,我们发现,法国南部地区的湿稻田的水稻种植方法是由强制劳动的越南劳工带来的。这些移居至此的农民在法国的武器工厂工作,随后被转移到南部去采盐。他们渴望家乡的谷物,因此开始治理盐碱地,修整水田的堤坝系统以种植水稻。该地区迅速成为水稻的发源地——让法国农业和美食引以为豪。


Last year we traced how the French colonizers brought coffee into Vietnam through their agricultural geological research and experiments. Then we found out that the rice cultivating method in wet paddy fields in southern France was initiated by forced Vietnamese Laborers. These displaced farmers worked in French weaponry factories and then were moved to the south to harvest salt. Craving for homeland grain, they started to cleanse the salty soil and bank the dyke system for watery fields to culture the rice. The region quickly became the cradle of rice – pride of French agriculture and cuisine. 


农学家打包热带植物送往母国和其他殖民地区进行测试
agriculturalists were packing tropical plants to send to Mère Patrie or other colonized regions to test 


第一棵在越南土地上种植的罗布斯塔咖啡树,图片来自于1937年出版的
印度支那的咖啡种植》一书
first robusta grown on Vietnamese soil, from the book a culture du café en indochine,1937


《印度支那》杂志在1906年报道了包括水稻和甘蔗在内的农作物
L’Indo-Chine magazine in 1906 reporting agricultural crops including rice and sugarcane 


1940年代,被强迫的越南劳动者在法国(东)南部的阿尔勒种植稻米
Vietnamese forced laborers cultivating rice in Arles, southern France in 1940s 


我们在阿尔勒刮盐田,以感受越南农民近一个世纪前的行为
we scraped the salt fields in Arles to feel the act of the Vietnamese farmers nearly a century ago 


为了纪念在法国的越南农民所种植的大米以及这种谷物在越南文化中的重要性,我们创作了作品《裂缝》(2019),使用带有耕地引擎的模具烹制可食用的华夫米饼
to commemorate the rice grown by Vietnamese farmers in France and the importance of this grain in our culture, we make the work crack (2019) – the edible rice waffle that cooked through a mold attached with a farming engine. 


我们站在著名的阿尔勒粉红盐田附近的的一个纪念在法越南劳工的纪念碑前
us in front of the monument remembering the Vietnamese laborers in France that was erected near the famous pink salt field of Arles 



 


生活在越南为我们提供了丰富的物质来源,用以观察、触摸、追踪线条,使线条发散和合并。


Living in Vietnam offers us a profuse source of materiality to observe, to touch, to trace the lines, to diverge and to amalgamate them.

 

中部高地花园中遗弃的生锈的起皱铁皮的微观视图

micro view of a rusty corrugated iron sheet abandoned in garden in the Central Highlands


来自嘉莱省水电大坝中湍急的瀑布形成的泡沫
foam from the swift flowing waterfall that comes from a hydro-electric dam in Gia Lai province


竹制动音雕塑的素描图,灵感来源自原住民社区与中部高地到越南中部沿海地区自然坏境互动的方式
drawing sketches of kinetic sound sculpture made from bamboos, inspired from the way indigenous community were interacting with their natural surrounding from central highlands to coastal central Vietnam


在我们的家族农场中描绘胡椒藤堆的线条
tracing lines of the piles for peppercorn vines in our family’s farm


/// 关于艺术家


艺术劳动组织是一个胡志明市的艺术团体,其作品涉及视觉艺术及社会和生命科学交织的领域。艺术劳动组织由Arlette Quynh-Anh Tran(1987年生于柏林),Thao Nguyen Phan(1987年生于胡志明市)和Tung Cong Trong(1986年生于达克拉克)组成。艺术劳动组织不制作彼此没有关联的个体作品,而是追求长达数年的“旅程”,将项目及相关作品的时长拉长。


艺术劳动组织先前的旅程包括“无条件信仰”(Unconditional Belief)(2012-2015),“嘉莱露水”(Jrai Dew)(2016至今)和“JUA”(2019至今)。艺术劳动组织的作品在越南和国际的重要展馆广泛展出,例如第57届匹兹堡卡内基国际艺术展,曼谷双年展,达卡艺术峰会,香港Para Site,华沙现代艺术博物馆和巴黎蓬皮杜艺术中心。


Art Labor is an artist collective based in Ho Chi Minh City, who works at the intersection of visual arts and social and life sciences. Composed of Arlette Quynh-Anh Tran (b. 1987, Berlin), Thao Nguyen Phan (b. 1987, Ho Chi Minh City), and Trương Công Tùng (b.1986, Daklak), the collective does not produce discrete and singular artworks, but rather pursues years-long “journeys”, which expand the duration of projects and related works. 

Their previous journeys includUnconditional Belief (2012-2015), Jrai Dew (2016-ongoing) and JUA (2019-ongoing). Their practice has been widely exhibited in Vietnam and internationally in notable venues such as the 57th Carnegie International, Pittsburgh; the Bangkok Art Biennale; Dhaka Art Summit; Para Site, Hong Kong; Museum of Modern Art, Warsaw; and the Centre Pompidou, Paris.


/// 关于展览 More, More, More 

油罐艺术中心隆重呈现最新展览《More, More, More》,由Passing Fancy(朱筱蕤和弗雷德里克·诺维尔)策划,埃莉斯·阿玛尼协助策划,展示28位艺术家新的委约作品和代表作。

《More, More, More》展览中的作品散布表达的种子,并把传播、不可翻译性和语言的外在性,视为交流的一个固有维度。本展览中的作品不停地泄漏、滴落、发芽、重复:,需要翻译、染色、分泌;发声、磕磕巴巴、反射和发光,“沾湿一切”,并扭动。这些作品在不停地生长,通过不同的方式,来回答最初的关于感知和形式的问题。

TANK Shanghai proudly presents our new exhibition More, More, More. Curated by Passing Fancy [X Zhu-Nowell & Frederick Nowell], with Elise Armani, More, More, More includes new commissions and existing works by 28 international artists.

Works in this exhibition leak, drip, sprout, repeat:, require translation, stain, secrete; utter, stutter, reflect, and glow, “wet everything," and wiggle. These are projects that grow, in different ways, from questions that, in earlier incarnations, were directed to feeling and form.



/// TANK Artist Takeover 往期回顾


Pamela Rosenkranz




Victoria Sin


「年度赞助伙伴」



HUBLOT宇舶表于1980年成立于瑞士,以创造性地运用贵金属与橡胶的组合,开启创新历程。“融合的艺术”源于充满远见卓识的董事会主席Jean-Claude Biver的畅想,自2012年起在首席执行官Ricardo Guadalupe推动下不断向前迈进。秉承 “敢为先锋,独树一帜,与众不同”这一理念,宇舶表坚持保留传统的同时探索前沿工艺。通过材质上的创新(耐磨魔力金、明亮彩色陶瓷、蓝宝石)以及自产机芯的创作(Unico,Meca-10,陀飞轮),宇舶表始终处于潮流前端。

: . Video Mini Program Like ,轻点两下取消赞 Wow ,轻点两下取消在看

您可能也对以下帖子感兴趣

文章有问题?点此查看未经处理的缓存