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#讲座配有交传翻译，欢迎点击活动报名# 张怡：再架构 PATTY CHANG RE-CONFIGURATIONS 嘉宾：姚嘉善 Guest Speaker: Pauline Yao 2017.05.12, 3-5 PM Language: English, Chinese 3F, Power Station of Art 上海当代艺术博物馆3层小剧场 点击活动报名 |
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In her career-defining performances—staged in modest theatres in New York in the late 1990s and which live on as single-channel video artworks—Patty Chang laid bare her body, her gender, and her race in ways that challenged social mores and the prescribed behaviours of an Asian American woman. Outfitted in a demure, working-girl suit, Chang undertook small feats of physical endurance by executing combined actions involving foodstuffs, live animals, and liquids, all the while tapping the boundaries of loss and desire. These works reveal how everyday behaviours can be performative; we are always performing our identities, social rituals, and agreed upon roles in contemporary society.
Where Chang’s practice diverges from other endurance-oriented performance artists is her unique attention to the technologies that preserve the work. Her live performances make explicit use of the recorded image and consider the perspective and presence of a viewer. For her performance Fountain (1999), she kneeled over a mirror on the floor covered with a thin layer of water and used her mouth to suck and slurp the liquid off its surface. For the video, Chang cropped away the surroundings and turned the image ninety degrees to give the appearance that she is engaged in a slow, deep kiss with her own image. Another iconic video, In Love, shows a teary-eyed Chang kissing her parents on the mouth in slow motion but it is in fact reversed footage of a performance wherein they chew and pass a raw onion back and forth with their mouths.
Chang’s more recent work has become more research based and often conflates literary refernces with real life experiences. In 2016’s Shanghai Biennial, she showed her recent project The Wandering Lake. Using the metaphor of the wandering lake as a departure point, the project moves between searching for the mythical Wandering Lake in Xinjiang province; to investigating the shrinking of the Aral Sea, to washing a sperm whale corpse in Uzbekistan, all through the lens of the artist’s then pregnancy, with its morning sickness, and breast milk pumping. The project then morphs into Configurations, and follows the longest aqueduct in the world, examining the historic flooding of the Yellow River and Chinese Imperial history in relation to urinating and the human body.
In this lecture, the artist will walk us through her work from different points in her career, from Fountain and In Love, to Configurations, and share her years of exploration and reflection on her Asian female identity. Pauline Yao, curator at M+, Hong Kong, will introduce the artist and engage in a short conversation afterwards. You can find Pauline's essay on Chang's latest work on: 姚嘉善 評 张怡 / BANK ARCHIVES
上世纪90年代末，第11届上海双年展参展艺术家张怡（Patty Chang）屡次於纽约多间中型剧院作行为展演，并以单频录像记录其行为作品，她亦藉此确立名声。作品中，张怡裸露她的身体，展示其性别和种族，挑战社会风俗和道德标准，质疑西方传统视角人们对亚裔美籍女性的行为规范。艺术家穿着端庄拘谨的上班女性制服，运用食物（哈密瓜和洋葱），活生生的动物（鳗鱼）和液体（水）做出各种动作，完成一幕幕挑战肉体忍耐力的壮举，时刻窥探失落与欲望的分界。
张怡十分注重运用科技保存其作品，这使她有别於其他以忍耐力为本的行为艺术家。在现场展演《喷泉》（1999）时，地面放有一面被浅水覆盖的镜子，她在镜子上跪下，然後用嘴巴吸啜丶咽下地面的水；在演出录像中，她将周遭的环境裁掉，将影像九十度旋转，使自己看似在缓缓深吻自身的倒影。另一部着名录像作品《在爱里爱着》（2001），则以慢动作播放热泪盈眶的张怡与父母亲嘴，但事实上，影片是他们咀嚼一个生洋葱，再用嘴巴来回传递洋葱的倒播片段。
2016年张怡在上海双年展上，展出的是她的作品《游移湖》。当时怀孕的张怡，在乌兹别克斯坦一边挤奶，一边对“流动”进行思考，带着《白鲸记》的忧伤灵魂为抹香鲸洗浴。2017年，张怡为上海带来的是她的最新作品《架构》（Configurations），一件基于艺术家跟踪“南水北调工程”的旅行作品。“南水北调工程”的中线工程建设了世界上最长的，这条沟渠从汉江中上游的河南南阳淅川丹江口水库到北京郊区的水库。对艺术家来说，她感兴趣的是排尿、高架渠、黄河历史性的洪水，最后到黄河的历史洪灾中，从人体的角度对中国的帝国史进行思考。
这次讲座，艺术家将系统性地介绍她在美国不同年代的作品，从《喷泉》、《在爱里》到《架构》并分享这么多年她对于华人、女性身份的探索与思考。同时，M+视觉文化博物馆策展人姚嘉善（Pauline Yao）将作为讲座嘉宾出席此次讲座，相关文章，请见：姚嘉善 評 张怡 / BANK ARCHIVES 。
Where Chang’s practice diverges from other endurance-oriented performance artists is her unique attention to the technologies that preserve the work. Her live performances make explicit use of the recorded image and consider the perspective and presence of a viewer. For her performance Fountain (1999), she kneeled over a mirror on the floor covered with a thin layer of water and used her mouth to suck and slurp the liquid off its surface. For the video, Chang cropped away the surroundings and turned the image ninety degrees to give the appearance that she is engaged in a slow, deep kiss with her own image. Another iconic video, In Love, shows a teary-eyed Chang kissing her parents on the mouth in slow motion but it is in fact reversed footage of a performance wherein they chew and pass a raw onion back and forth with their mouths.
Chang’s more recent work has become more research based and often conflates literary refernces with real life experiences. In 2016’s Shanghai Biennial, she showed her recent project The Wandering Lake. Using the metaphor of the wandering lake as a departure point, the project moves between searching for the mythical Wandering Lake in Xinjiang province; to investigating the shrinking of the Aral Sea, to washing a sperm whale corpse in Uzbekistan, all through the lens of the artist’s then pregnancy, with its morning sickness, and breast milk pumping. The project then morphs into Configurations, and follows the longest aqueduct in the world, examining the historic flooding of the Yellow River and Chinese Imperial history in relation to urinating and the human body.
In this lecture, the artist will walk us through her work from different points in her career, from Fountain and In Love, to Configurations, and share her years of exploration and reflection on her Asian female identity. Pauline Yao, curator at M+, Hong Kong, will introduce the artist and engage in a short conversation afterwards. You can find Pauline's essay on Chang's latest work on: 姚嘉善 評 张怡 / BANK ARCHIVES
上世纪90年代末，第11届上海双年展参展艺术家张怡（Patty Chang）屡次於纽约多间中型剧院作行为展演，并以单频录像记录其行为作品，她亦藉此确立名声。作品中，张怡裸露她的身体，展示其性别和种族，挑战社会风俗和道德标准，质疑西方传统视角人们对亚裔美籍女性的行为规范。艺术家穿着端庄拘谨的上班女性制服，运用食物（哈密瓜和洋葱），活生生的动物（鳗鱼）和液体（水）做出各种动作，完成一幕幕挑战肉体忍耐力的壮举，时刻窥探失落与欲望的分界。
张怡十分注重运用科技保存其作品，这使她有别於其他以忍耐力为本的行为艺术家。在现场展演《喷泉》（1999）时，地面放有一面被浅水覆盖的镜子，她在镜子上跪下，然後用嘴巴吸啜丶咽下地面的水；在演出录像中，她将周遭的环境裁掉，将影像九十度旋转，使自己看似在缓缓深吻自身的倒影。另一部着名录像作品《在爱里爱着》（2001），则以慢动作播放热泪盈眶的张怡与父母亲嘴，但事实上，影片是他们咀嚼一个生洋葱，再用嘴巴来回传递洋葱的倒播片段。
2016年张怡在上海双年展上，展出的是她的作品《游移湖》。当时怀孕的张怡，在乌兹别克斯坦一边挤奶，一边对“流动”进行思考，带着《白鲸记》的忧伤灵魂为抹香鲸洗浴。2017年，张怡为上海带来的是她的最新作品《架构》（Configurations），一件基于艺术家跟踪“南水北调工程”的旅行作品。“南水北调工程”的中线工程建设了世界上最长的，这条沟渠从汉江中上游的河南南阳淅川丹江口水库到北京郊区的水库。对艺术家来说，她感兴趣的是排尿、高架渠、黄河历史性的洪水，最后到黄河的历史洪灾中，从人体的角度对中国的帝国史进行思考。
这次讲座，艺术家将系统性地介绍她在美国不同年代的作品，从《喷泉》、《在爱里》到《架构》并分享这么多年她对于华人、女性身份的探索与思考。同时，M+视觉文化博物馆策展人姚嘉善（Pauline Yao）将作为讲座嘉宾出席此次讲座，相关文章，请见：姚嘉善 評 张怡 / BANK ARCHIVES 。
PATTY CHANG 张怡 Patty Chang has held solo shows at institutions such as the MoMA in New York; the New Museum in New York; the Hammer Museum in Los Angeles; the Museum of Contemporary Art in Chicago; and the Moderna Museet in Stockholm, Sweden. In 2009 she was named the Guna S. Mundheim Fellow of Visual Arts at the American Academy in Berlin and she is a 2014 recipient of a Guggenheim Fellowship. Chang’s latest project, The Wandering Lake, of which Configurations is a component, was recently featured in the 11th Shanghai Biennial 2016 and will be the focus of a solo show at the Queens Museum in NY in October 2017. 曾在纽约现代美术馆，纽约新美术馆，加州大学汉莫美术馆，芝加哥当代艺术博物馆，以及瑞典斯德哥尔摩现代美术馆等艺术机构举办个展。她于2009年获得了柏林美国研究院的视觉艺术奖学金，2014年获得了古根海姆奖学金。她在2016年第11届上海双年展中展出了其最新项目“游移湖”（“架构”也是该项目的一个组成部分），2017年10月即将在纽约皇后美术馆举办个展。 |
PAULINE YAO 姚嘉善 Pauline J. Yao is Lead Curator, Visual Art at M+, the new museum for twentieth and twentieth-century visual culture being built in Hong Kong. She has held curatorial positions at the Asian Art Museum of San Francisco and worked as an independent curator and writer in Beijing for six years, during which time she helped co-found the storefront art space Arrow Factory. A co-curator of the 2009 Shenzhen Hong Kong Bi-City Biennale of Architecture and Urbanism, Yao is a regular contributor to Artforum, e-flux Journal, and Yishu Journal of Contemporary Chinese Art and her writings on contemporary Asian art have appeared in numerous catalogues, online publications and edited volumes. She is the author of In Production Mode: Contemporary Art in China (Timezone 8 Books, 2008) and co-editor of 3 Years: Arrow Factory (Sternberg Press, 2011). 香港M +视觉文化博物馆（兴建中）主策展人，曾组织旧金山亚洲艺术博物馆的策展工作，并作为独立策展人和作家在北京工作生活六年，在此期间她参与创办了箭厂空间，2009年她曾任深圳香港建筑双年展总策展人。她同时是《艺术论坛》、E-Flux、《Yishu》等媒体的特约撰稿人，她关于亚洲当代艺术的写作也被广泛收录于众多画册、在线和纸质出版物中。她编著了《生产模式作者：中国当代艺术》（Timezone 8，2008），并联合编辑了《3年：箭厂》（斯腾伯格出版社，2011）。 |
