A Guided Tour
《本色出演/成为本尊》
二十四位当代女性艺术家的影像作品
Impersonating Myself / Becoming Myself
Photographs and Videos by 24 Contemporary Women Artists
参展艺术家：
郭桢 GUO Zhen 、胡海博 HU Haibo 、胡佳艺 HU Jiayi 、刘茜懿 LIU Qianyi 、刘沁敏 LIU Qinmin 、刘思麟 LIU Silin 、钱儒雅 QIAN Ruya 、文慧 WEN Hui 、吴丹丹 WU Dandan 、邢丹文 XING Danwen 、许静宇 XU Jingyu 、张森 ZHANG Sen
Raida ADON, Sharon GLAZBERG,
Dalia GOTLIEB-KEDEM, Keren GUELLER,
Michal HEIMAN, Alex KURBATOV,
Vered NISIM, Hadas SATT, Tal SHOCHAT,
Noa YAFE, Noa YEKUTIELI, Maya ZACK
策展人： 苏珊.布罗施-列维特 张芳
Curators: Shoshan Brosh-Levitt， ZHANG Fang
展览统筹： 刘珍 董玉琪
Exhibition coordinator: LIU Zhen, DONG Yuqi
展览执行： 韩子昕 高梁津 郑可辰
Exhibition executor: HAN Zixin, GAO Liangjin, ZHENG Kechen
主办： 青岛西海岸新区黄盒子美术馆
Host: YellowBox Art Museum
协办： 上海喜玛拉雅美术馆
Co-host: Shanghai Himalayas Museum
展期： 2024.09.25-11.24
Exhibition time: September 25th, 2024 to November 24th, 2024
展览简介：
参展者：24 位女性艺术家，有的生活在中国，有的生活在以色列，还有的分散在巴黎、日本、洛杉矶、纽约和佛罗里达等世界各地。展览包括 48 件摄影作品和 15 件录像作品。
这些艺术家的作品都走在当代艺术的前沿。其中最年长的艺术家米哈尔-海曼出生于 1954 年，最年轻的艺术家胡佳艺出生于 1993 年。
参加展览的艺术家并不认为这是一个只属于女性或只为女性举办的展览，因为他们的创作环境中既有男性也有女性。不过，收集和策划大量关注艺术和文化的女艺术家的作品非常重要。女性处于中心位置，关注的焦点是她们眼中的世界。她们拥有与男性和女性都相关的全新视角。考虑到在遥远的历史和近代历史中，女性和女性艺术家都缺乏鉴赏力，因此迫切需要将她们置于中心位置。
Introduction:
Participants: 24 female artists, some live in China, some in Israel, and others are scattered around the world in Paris, Japan, Los Angeles, New York, and Florida.
The exhibition includes: 48 photographic works and 15 video works.
The artists work at the forefront of contemporary art. The eldest of the artists - Michal Hayman - was born in 1954 and the youngest - Hu Jiayi - was born in 1993.
The participating artists in the exhibition did not think of it as an exhibition of or for women only, because they operate in a context in which both men and women create. However, it is important to collect and curate a large selection of women artists paying attention to art and culture. Women are at the center and the focus is the world as they see it. They have a fresh perspective that is relevant to both men and women. Considering the lack of appreciation of women and female artists in both distant and recent history, there is an urgent need to place them at the center.
主题： 展览涉及妇女感兴趣的问题。 根据这些主题展示的作品包括： 妇女作为生命力与自然的认同，以及维护和保护自然的必要性； 妇女寻求身份认同并扩大身份认同； 妇女应对社会对妇女的不公正； 妇女挑战对妇女的误解； 以及家庭背景下的妇女--代际链（母亲、祖母、女儿和孙女）； 妇女寻求改善其家庭、社会、经济和声誉状况。 这些女性将女性特质、成为他人的勇气、同情心和批判意识定位为直面创伤的力量和对美好未来的希望。 有时，她们使用这样的公式 模仿我自己/成为我自己。 即 “假装自己，直到成功”（FAKE IT UNTIL YOU MAKE IT）。
Themes: The exhibition deals with issues that are of interest to women. The works are presented according to these themes include: women as life force identified with nature and the need to preserve and protect it; women seeking identity and expanding it; women addressing social injustices towards women; women challenging misconceptions about women; and women in the context of family - the intergenerational chain (mothers, grandmothers, daughters, and granddaughters); women seeking to improve their family, social, economic, and reputational situation. These women position femininity, the courage to be someone else, compassion, and critical awareness as forces to confront traumas and as hope for a better future. Sometimes using the formula: Impersonating Myself / Becoming Myself. Namely FAKE IT UNTIL YOU MAKE IT.
所有女艺术家都是视觉艺术家，她们站在摄影和录像艺术创新的前沿。 这些艺术家关注她们自己、其他女性、过去的人物、神话、历史、当下以及当前当地和国际的生活方式。 她们的作品涉及心理、社会和文化领域，但主要是人类领域。 他们的描绘涵盖了摄影和绘画的历史，以及其中的女性形象。
在作品中，她们探究现实与想象，重新诠释已知的艺术作品。她们对时间和空间的漫游进行处理，创造出一种全新的、当代的和未来主义的声音。
这些作品力图与我们、与观众进行对话，同时赋予我们 “做自己 ”的能力和价值。
看看艺术家们在处理这些问题时的异同将会很有趣。我们也可以在留言区来讨论这个问题，我们也将听听大家的意见。
All the female artists are visual artists who operate on the front lines of innovation in photography and video art. These artists focus on themselves, on other women, on figures from the past, on myths, on history, on the present and current local and international ways of life. Their work takes place in psychological-social-cultural fields, but primarily in the human realm. Their depictions encompass the history of photography and painting and the female representation therein.
In their work, they investigate reality and imagination, and reinterpret known works of art. They process their wanderings in time and space to produce a new, contemporary, and futuristic voice.
The works seek to create a dialogue with us, the viewers, and also to empower us to "be ourselves" and be valuable. It will be interesting to see similarities and differencesin how the artists address these issues. We can also discuss this issue in the comment section and listen to everyone's opinions.
策展人导览
Curator's Guide
1. 莎蓉·格拉博格/Shar on Glazbe rg [1976]
Sharon Glazberg, The Water Keeper, 2016
Video, 1'21'' (Loop)
莎蓉 格拉博格, 《水的守护者》， 2016年
影像，1‘21“ （循环播放）
展览的第一个空间展示的作品是莎蓉·格拉博格（Sharon Glazberg）（1976 年）的《水的守护者》（Water Keeper）[以及展览中的其他作品--《树的守护者》（tree keeper）]。
在作品《水的守护者》中，艺术家在视频中创造了一个地理神话。 她将自己想象成一个在[戈兰高地]一座活火山[“拉姆池”]水盆中流淌的水中诞生的人物。 艺术家的灵感来源于有关泉水的传说、神话和诗歌（作者： 哈吉特-格罗斯曼 Hagit Grossman），以及位于现场的一座名为 “拉姆池的维纳斯 ”的古代神像雕塑（偶像崇拜者）。 这些传说赋予了泉水/水池作为包括约旦河在内的地区水源的重要性。
The first space of the exhibition presents a work that deals with women as a life force identified with nature and is aware of the need to preserve it - Sharon Glazberg's (1976) Water Keeper [and elsewhere in the exhibition – “trees keeper”].
In the artwork Water Keeper, the artist creates a geographical myth in a video. She imagines herself as a figure born in the waters flowing from the water basin [of the “Ram Pool”] located in an inactive volcano [in the Golan Heights]. The artist was inspired by legends, myths, and poetry [by Hagit Grossman] about the spring's waters, as well as an ancient sculpture [the idolater] in the form of a deity called 'Venus of the Ram Pool', located on-site. These legends attribute importance to the spring/pool as the source of the regional waters, including the Jordan River.
Sharon Glazberg, Protesting at Peach Orchard, 2014
Video, Sound, 25’’ [loop]
莎蓉·格拉博格, 《果园的抗议》，2014年
影像，25“ （循环播放）
作品表达了回归女神的自豪感。它被视为滋养、包容、温暖、母乳喂养、养育以及按照自然的生长、绽放和更新节奏运行。女神传播的是气息，而不是威胁、惩罚和控制。艺术家的目标是母系时代的神话：女神、伟大的母亲、女性神性的标志性形象，以回应数千年来犹太教、基督教和穆斯林的父权制，这种父权制将女性排除在领导和真正的参与之外。
当艺术家进行水上仪式时，她的脸会浮出水面，但不会暴露在空气中。守水人戴着白色的死亡面具。金鱼围绕着她，爱抚她，“品尝 ”她。在火山爆发和窒息的紧张环境中，这是一个令人兴奋的美丽场景，一个女性与自然世界和谐相处的场景。艺术家的个人形象创造了一个介于现实与当代神话之间的世界。
这是完美自画像的巅峰之作。
尤其有趣的是，这幅作品与中国文化有关，金鱼在中国文化中具有特殊的意义。我很乐意了解您看到这里会有一些什么联系。
The artwork expresses pride in returning to the goddess. It is perceived as nurturing, containing, warm, breastfeeding, nurturing and operating at the natural rhythms of growth, blossoming and renewal. The goddess who spreads breath and not threats, punishment and control. The artist aims at the myth of the matriarchal era: the goddesses, the great mother, the iconic figure of female divinity in response to thousands of years of Jewish, Christian and Muslim patriarchy that have excluded women from leadership and true participation.
When the artist conducts the water ritual, her face rises above the water but is not exposed to the air. The waterkeeper wears a white death mask. Goldfish surround her, caress her, and "taste" her. It is an exciting scene of beauty, of feminine harmony with the natural world in the tense environment of volcanic eruption and suffocation. The artist's personal imagery creates a world that moves between reality and contemporary mythology.
This is the peak of self-portrait perfection.
Especially interesting is the connection to Chinese culture, in which goldfish hold special significance. I would be happy to hear about the connection that you see here.
2. 刘沁敏/LIU QINMIN [19 90]
Liu Qinmin, Virgin Flight of Angel Haha, 2017,
Color- Print，53X86 (x4)cm
刘沁敏， 《天使哈哈首航》，2017年
彩色摄影, 53X86 (x4 张)cm
服装、想象力和视觉辅助工具是创造另一种现实的手段。
2017 年，艺术家成立了想象中的 “天使航空公司”，这是一家由艺术家管理的航空公司。在此过程中，她用艺术的主动性取代了女性在男性主导的经济世界中的弱势地位，以及艺术家在其所处的经济环境中的弱势地位。
刘沁敏挑战不可能，在想象中实现远大理想。她利用消费文化广告的工具，通过有吸引力的图像来推广产品和倡议。因此，她一方面表达了对社会和艺术家的批判，另一方面也利用人性的弱点来促进其他利益。
她的幽默可以激发人们在困难中寻找可能性。
这是一个反对 “善待政治 ”的表达范例，“善待政治 ”试图通过对女性 “善待 ”的愿望来否定女性的政治权力，并将她们与情感、美貌、洋娃娃般的甜美和家庭空间的世界联系起来。
这件作品将我们与下一位艺术家的作品联系在一起。
Costume, imagination, and visual aids are the means to create an alternative reality.
In 2017, the artist established the imaginary "Angel Airlines", an airline managed by artists. In doing so she used artistic initiative to replace the weakened position of women in the male-dominated economic world, and of artists in the economic environment in which they live.
Liu Qinmin challenges the impossible and implements a visionary idea in her imagination. She utilizes the tools of consumer culture advertising, which promotes products and initiatives through attractive images. Thus, she expresses criticism on one hand [towards society and also towards artists], but also leverages human weakness to advance other interests.
Her humor can be an inspiration for finding possibilities in difficult places.
This is an example of an expression that opposes the 'politics of niceness', which sought to dismiss the political power of women through the desire to 'be nice' to them and connect them to the world of emotions, beauty, doll-like sweetness, and domestic space.
This work connects us to the works of the next artist.
3. 钱儒雅/QIAN RU YA [1987]
Qian Ruya, What You Collect is Part of Yourself, Part I + Part II
2018-2021
Single Channel Video, Sound, 2’, Loop
钱儒雅，《你收集的是一部分自己》第一和第二部分
2018-2021年
单屏影像， 有声， 2 分钟，循环播放
Qian Ruya, What You Collect is Part of Yourself, 2018-2021
Still from video work, C-Print, 80X120(x4) cm
钱儒雅,《你收集的是一部分自己》系列，2018-2021
录像作品截图, 彩色摄影, 80X120 (x4张) cm
玩偶是与女性有关的终极物品。女孩们玩洋娃娃；许多成年妇女收集洋娃娃。人们常常称自己的朋友或女儿为 “洋娃娃”。此外：多年来，女性一直在模仿玩偶的美丽和甜美特征。最后，这些女性变成了机械玩偶，就像在短片中看到的那样。
艺术家的视频作品和静态图像两部分呈现了刻板印象及其反面。在其中一个部分中，收集玩偶的少女成为收藏品的一部分。在另一部分中，玩偶变成了拥有权力和权威的人类实体。
这就提出了一些问题：谁控制谁？游戏和现实之间的界限是什么？也许最重要的是，这种将女性比作玩偶的做法会改变吗？
在作品中， 钱儒雅使用了自己 从七岁开始收集的玩偶。这一点在视频作品的标题中有所体现：“你收集的东西是你自己的一部分"。因此，艺术家将现实与艺术表现进行了直接对比。她可能就是这样逐渐走向成熟的。欢迎来到新的 ”玩偶之家“。
接下来的另一位艺术家的两幅作品将玩偶本质推向了更高的层次。
Dolls are the ultimate objects related to women. Girls play with dolls; many adult women collect dolls. Often people refer to their friends or daughters as "dolls". Moreover: over the years, women have copied the beauty of dolls and their sweet characteristics. Finally, these women have become mechanical dolls, as seen in short videos.
The two parts of the video work of the artist and the still images present the stereotype and its inverse. In one, the young girl who collects dolls becomes part of the collection. In the other, dolls become human-like entities with power and authority.
This raises questions: Who controls whom? What are the boundaries between play and reality? And perhaps most importantly, will this practice of comparing women to dolls ever change?
In her work, Qian Roya uses her own doll collection that she has been collecting since the age of seven. This is reflected in the title of the video work: "What you collect is a part of yourself". Thus, the artist creates a direct comparison between reality and its representation in art. This is how she may be maturing. Welcome to the new "House of Dolls".
The next artist has 2 works taking “Doll Essence” further.
4. 阿莱克斯·库巴托夫/Alex Korbutov [ 1987]
Alex Kurbatov , Bride from Ukraine #1 , 2016
Color Print, 50X70 cm
阿莱克斯 库巴托夫, 《 来自乌克兰的新娘 #1》 ， 2016 年
彩色摄影，50X70 cm
使用伪装是一种强大的工具，既能增强身份的力量，又能解决身份的脆弱性（“身份政治”）。这一趋势在全球移民艺术家中非常突出。
她的作品涉及从东欧移民到世界不同国家的妇女所面临的挑战。
这是一个来自第二次世界、生活在前共产主义欧洲的弱小而现代的妇女群体。她们经历了一种移民的境遇，在这种境遇中，妇女的地位被削弱，暴露在隐蔽的暴力之下，缺乏 “人的安全”，表达受到压制。在亚历克斯-库尔博托夫的作品中，妇女作为公民和难民为自己的命运而战。
The use of disguise is a powerful tool for empowering identity while addressing vulnerability of identity ["Politics of Identities"]. This trend is very prominent among immigrant artists, worldwide.
Her work deals with the challenges that women who emigrated from Eastern Europe face in different countries around the world.
This is a weak and modern group of women from the Second World, who lived in former Communist Europe. They experience a situation of migration, in which the status of women is weakened, exposed to hidden violence, to a lack of 'human security' and to the suppression of expression. In the works of Alex Kurbatov, the woman as a citizen and refugee fights for her fate.
Alex Kurbatov, Venus #4, 2016
Color Print, 50X70 cm
阿莱克斯 ·库巴托夫，《 维纳斯 #4》，2016 年
彩色摄影，50X70 cm
维纳斯（罗马神话中的美神和爱神，相当于希腊神话中的阿佛洛狄忒）被认为是我们生活的世界中最典型的女性理想，即使在今天也是如此。
在特拉维夫的海滩上，她并不是从海浪的泡沫和神话中的风中诞生的，她也不是被装在华丽的贝壳上带到岸边的，而是被装在一个纸箱里，像商业消费捆绑带一样包装着来到这里的。从她的角度来看，地中海是迁徙经历中的落日，而不是 “海洋的幻象”。
与波提切利 1486 年的标志性画作相反，维纳斯孤零零地站在那里，没有天上的使者围绕着她，没有华丽多彩的背景，没有树木和鲜花。大海将她抛弃在海岸边，她既是难民，也是潜在的新娘。没有人许诺给她玫瑰园。
阿莱克斯-库巴托夫（Alex Korbutov）在拍摄一组照片时，摆出 “S ”形姿势，没有像波提切利的维纳斯那样，以经典的 “S ”形姿势强调女性曲线。她以年轻男子理想美女的形象展现了女性的细腻。
Gonzalo Perez 等当代艺术家在摄影作品中挑战女性美的神话，他从垃圾中孕育出维纳斯。
纸箱与安迪-沃霍尔的 金汤包罐头（1964 年）遥相呼应。艺术史赋予了它多层次的深度以及个人、女性和艺术的力量。在这里，它发生在摄影中，就像发生在绘画中一样。艺术不是从浪花的泡沫中诞生的，而是从文化链中诞生。
Venus (the goddess of beauty and love in Roman mythology, equivalent to Aphrodite in Greek mythology) is considered the quintessential feminine ideal in the world we live in, even today.
On the beach in Tel Aviv, she wasn't born from the foam of waves and mythological winds, and she wasn't brought to the shore on a magnificent seashell, but arrived in a cardboard box, packaged like a commercial consumer bundle. The Mediterranean Sea, from her perspective, is the sunset of the migration experience, not an "oceanic vision."
Contrary to Botticelli's iconic painting from 1486, Venus stands alone, without heavenly messengers surrounding her, without an ornate and colorful background filled with trees and flowers. The sea has cast her onto the shore as a refugee and a potential bride. No one promises her a rose garden.
Alex Kurbatov poses in a chiastic position for a photoshoot that does not emphasize the feminine curves in a classic "S" posture, like the Venus of Botticelli. She presents feminine delicacy, in the figure of an ideal beauty of a young man.
The myth of feminine beauty challenged in photography by contemporary artists, such as Gonzalo Perez, who gave birth to "Venus From the Garbage".
The cardboard box echoes Andy Warhol's "Brillo Box" (1964). The history of art gives it layers of depth and personal, feminine, and artistic empowerment. Here it happens in photography, as in painting. Art is not born from the froth of the waves but from a cultural chain.
5. 许静宇 /XU JINGYU [1981]
Xu Jingyu, Angel, 2010
Black & White, Wallpaper, 100x200 cm
许静宇, 《天使》，2010年
黑白墙纸, 100x200 cm
Xu Jingyu, Untitled, # 3, 2014
Color Print, Wallpaper, 98x400 cm
许静宇 , 《无题三号》，2014年
彩色摄影, 墙纸，98x400 cm
这位艺术家出生于山东省，现居美国。在她的摄影作品中，她化身为天使，戴着面具，面对羊群或置身于植物海洋之中。动物和植物的世界以一位女性为中心。
一边是大自然的和平、美丽与和谐，也许还有童年[游戏的世界]；另一边是危险。它的复杂性和紧张性代表了生态、个人、代际和社会状况...... 艺术家作为一个习惯于维持生命的充满母性和关爱的女性对此感到担忧。
她为何忧心忡忡，伫立如天使？羊"象征大众/自然/被驯化的动物......她拥有诱惑、阻止甚至引导的力量。但要去哪里呢？
We will move on to the work of XU JINGYU [1981] - here and on the wall opposite.
The artist was born in Shandong province and currently lives in the United States. In her photography works, she is dressed as an angel, wearing a mask, facing a herd of sheep or amidst a sea of plants. The world of animals and vegetation with a woman at its center.
On one side: peace, beauty, and harmony in nature and perhaps in childhood [in the world of play]; on the other side: danger. It is complexity and tension that represent an ecological, personal, generational, and social situation. The artist is concerned about it as a maternal and caring women accustomed to sustain life.
Why is she worried and stands as an angel? The sheep symbolize the masses / nature / domesticated animals, and she has the power to seduce, to stop, and even to lead. But where to?
6. 诺亚·雅菲/N oa Yafeh [1978]
Noa Yafe , Self Portrait, 2016
(Taken from a Mixed Media Sculpture)
Color Print, 70X50 + 20 cm
诺亚·雅菲，《 自我肖像》, 2016年 （来自多媒体雕塑）
彩色摄影，70X50 + 20 cm
诺亚·雅菲摄影作品中的伪装和模仿变成了雕塑。诺亚·雅菲的摄影雕塑包含现实材料，但却对现实材料构成干扰和挑战。她设计的人体模型使用了传统的摄影表现手法，但它们并不存在于现实中。
“自我形象 "并非自我形象。相反，站在我们面前的人物实际上是一个人体模型，穿着一件连帽衫--一件具有文化意义的服装。穿着连帽衫的年轻人被视为对正常社会的威胁。尤其是像这个人体模型一样的黑人。那双紧盯着我们的眼睛其实是人造眼睛。一只玻璃眼睛是从艺术家的母亲那里借来的，她的母亲在年轻时就失去了眼睛，而第二只玻璃眼睛属于一个白人。这些伪装造成了世界之间的混杂、社会的混乱，表达了失明与不同类型的自然和摄影视觉之间的紧张关系。
The disguise and impersonation in Noa Yafe's photographs turned into sculptures. Noa Yafe's photographic sculptures include realistic materials, but they disturb and challenge them. The mannequins she designs use a traditional representation of photography, but they do not exist in reality.
"The self-image" is not a self-image. Instead, the figure standing before us is actually a mannequin, wearing a hoodie - a culturally significant piece of clothing. Young people in hoodies are perceived as a threat to regular society. Especially if they are Black like the mannequin. The eyes looking at us intensely are artificial eyes. One glass eye was borrowed from the artist's mother, who lost her eye at a young age, and the second glass eye belonged to a white person. These disguises create a mix between worlds, social disruption, and an expression of tension between blindness and different types of natural and photographic vision.
Noa Yafe, Untitled , 201 2
(Taken from a Mixed Media Sculpture)
Color Print, 70X50 +20 cm
诺亚 雅菲, 《 无题》 ， 2012 年, （来自多媒体雕塑）
彩色摄影，70X50 + 20 cm
在第二件作品 “无题 ”中，艺术家改进了她的欺骗技巧。这个人物实际上是一个戴着假发的男人，从后面拍摄。他看起来像一位年轻女性，但没有面孔。通过这种模糊界限的方式，艺术家挑战了传统的身份区分：男人就是女人，后脑勺就是充当正面的脸。
传达的信息 谨防欺诈、欺骗、操纵和天真。这是一种有用的生活方法。
In the second work, "Untitled", the artist refines her deceptive technique. The figure is actually a man in a wig, who is photographed from behind. He appears like a young woman but faceless. By blurring boundaries in this way, the artist challenges conventional distinctions between identities: a man is a woman, the back of a head is a face acting as a front.
The message: Beware of fraud, deception, manipulation, and being naïve. This is a useful method for life.
7. 刘思麟/Liu Silin [1990]
Liu Silin, Andy Warhol with Celine Liu, 2013
Black & White, Wallpaper, 60x80 cm
刘思麟，《安迪沃霍尔和刘思麟》，2013年
黑白 摄影 , 60x80 cm
Liu Silin, Simone de Beauvoir with Celine Liu, 2013
Black & White, Wallpaper, 60x80 cm
刘思麟，《波伏娃和刘思麟》，2013年
黑白 摄影, 60x80 cm
一系列经过加工和处理的照片。这位艺术家还利用了我们对摄影真实性的信念，以及我们认为摄影是纪实、真实和真实的看法。其结果是：令人困惑、令人不安、精彩绝伦、感人至深。实际上，为什么不呢？
欣赏迷人的摄影作品会引发一些非常相关的问题： 什么是真实？什么是原创？什么是假的？什么属于我？
2012 年，当 刘思麟开始创作这组作品时，她选择将自己作为蒋介石的替代品，放在著名的第一夫人宋美龄身边。在工作的几个小时内，她就明白了，如果她能取代这位在 1949 年共产党胜利之前生活在中国的强大领导人，那么女性取代男性也就轻而易举了。
A series of staged and processed / manipulated photographs. This artist also exploits our belief in the authenticity of photography and our perception that it is documentary, real and true. The result: bewildering, disturbing, brilliant, and touching. Because actually, why not?
Contemplation of captivating photographs raises very relevant questions: What is real? What is original? What is fake? What belongs to me?
When Silin/Celine began working on the series in 2012, she chose to insert herself as a replacement for Chiang Kai-shek next to the famous first lady, Song Meiling. Within a few hours of work, she understood that if she could replace the strong leader who lived in China before the Communists' victory in 1949, then it is easy for women to replace men generally.
Liu Silin, Simone de Beauvoir & Celine Liu, 2014
C-Print, 80x60 c m
刘思麟，《波伏娃和刘思麟》，2014年
彩色摄影, 60x80 cm
Liu Silin, Frida Kahlo & Celine Liu, 2014
C-Print, 80x60 c m
刘思麟，《弗里达卡洛和刘思麟》，2014年
彩色摄影, 80x60 cm
Liu Silin, Marilyn Monroe & Celine Liu, 2014
C-Print, 126x126 c m
刘思麟，《玛丽莲梦露和刘思麟》, 2014年
彩色摄影, 126X126 厘米
Liu Silin, Diana Spencer & Celine Liu, 2014
C-Print, 126x126 cm
刘思麟，《 黛安娜王妃和刘思麟》 ，2014年
彩色摄影 , 126x126 厘米
之后，她继续从事角色扮演游戏的工作，这些游戏让她与弗里达-卡洛、玛丽莲-梦露、戴安娜王妃、西蒙-德-波伏娃等强大的女性角色走得更近。
当她把自己定位在安迪-沃霍尔、温斯顿-丘吉尔和阿尔伯特-爱因斯坦等男性文化英雄的领域时，友谊和亲密跨越了性别界限。
值得在网上寻找更多的图片，看看她的伪装天赋、对细节的关注，以及与她的一切席琳所能成为的。
Afterwards, she continued to work on role-playing games that brought her intimately closer to strong female characters such as Frida Kahlo, Marilyn Monroe, Princess Diana, Simone de Beauvoir, and more. Friendships and closeness crossed gender boundaries as she positioned herself within the realm of male cultural heroes like Andy Warhol, Winston Churchill, and Albert Einstein.
It's worth looking for more images online and seeing her talent for disguise, attention to detail, and being with her everything Celine can be.
8. 米哈·海姆/Michal Heiman [1954]
Michal Heiman, Radical Link: A New Community of Women
1855–2020 ，C-Print,
米哈·海姆，极端链接：一个女性的新社群
1855-2020 ， 彩色摄影
作为一位非常知名的艺术家，她发起了许多大型艺术项目。她的每一次展览都是一次盛会。这些作品只是项目的一小部分，项目从大量的研究工作开始，最终形成文件、视频作品、照片、装置和展示。艺术与社会科学的结合。米哈·海姆参加了每五年一次在德国卡塞尔市举行的世界艺术界最重要的活动--文献展--所展示的作品的种类和水平。
2012 年，她看到了这本书：《疯狂的面孔》：《 休-W-戴蒙德与精神病摄影的起源》（1976 年）。该书收录了戴蒙德医生（1809-1886 年）于 1855 年左右拍摄的照片，他是英国精神病学家，曾是伦敦斯普林菲尔德医院（萨里郡前精神病院）的高级职员。
当艺术家翻阅书中的照片时，她看到了一张名为 “Plate 34 ”的照片。这是一个令她产生共鸣的 “决定性瞬间”。她觉得自己与 “图版 34 ”中凝视着她的年轻女子有一种非常强烈的联系--这位陌生的年轻女子与艺术家年轻时的样子一模一样。她甚至认出了那双独特相似的手。
这张照片促使她开展了一个项目，该项目基于一个激进的想法，即通过拍摄生活在 1855 年至 2021 年之间的几十个人--寻求庇护者、社会活动家、艺术家和其他人--来创建一个社区。她用 “Plate 34 ”为他们和她自己拍摄了照片；其他照片则是她用电脑处理过的老照片（如 Plate 34）。
A very well-known artist, she initiates large art projects. Every exhibition of hers is an event. This work is just a small part of a project, which begins with a lot of research work, and leads to documents, video works, photographs, installations, and presentations. A combination of art and social science. Works of the kind and level presented at the most important event in the world of art - Documenta - held once every five years in the city of Kassel in Germany, in which Michal Heiman participated.
In 2012, she came across the book: The Face of Madness: Hugh W. Diamond and the Origin of Psychiatric Photography (1976).
The book contains photographs taken around 1855 by Dr. Diamond (1809-1886), a British psychiatrist who was a senior staff member at Springfield Hospital in London (former asylum in Surrey)
When the artist looked at the photographs in the book, she came across a photo called "Plate 34". It was a "decisive moment" that resonated with her. She felt a very strong connection to the young woman gazing at her from Plate 34 - the strange young woman looked exactly like the artist in her youth. She even identified the hands that were uniquely alike.
This picture led her to carry out a project based on the radical idea of creating a community through photographing dozens of people - asylum seekers, social activists, artists, and others, who lived between the years 1855 and 2021. She photographed them and herself with "Plate 34" in front of them; others were old photos (like Plate 34) that she processed on her computer.
The first thing she did in an effort to find ways to 'meet' the women photographed in the 1850s, the time when the anonymous woman was hospitalized/sheltered, was to sew for herself a dress similar to the one in the picture as a main strategy to gain access to the imaginary shelter. Then she started to photograph various people wearing the dress (photos and videos) representing what happened in history continues today.
Michal Heiman, Female Infiltrators, 2017-2019
Video, Sound, 10’38’’
米哈·海姆，《女性渗透者》， 2017-2019年
影像，有声，10‘38“
为了找到 “与 ”19 世纪 50 年代（即匿名妇女住院/避难的年代）拍摄的妇女 “见面 ”的方法，她做的第一件事就是为自己缝制一件与照片中相似的衣服，以此作为进入想象中的避难所的主要策略。然后，她开始拍摄穿着这条裙子的各种人（照片和视频），代表着历史上发生的事情一直延续到今天。
在视频中，艺术家的女儿艾米丽扮演了一位时间旅行者。她身着蓝色花纹连衣裙，与图版 34 上的连衣裙相似；她成为照片中的人物。艾米丽正在进行一次真正的时间旅行。在这部视频作品中，旅程跟随一位曾在威尼斯的疯人院（疯人院）住院的妇女，与英国的疯人院类似。对我们来说，这里是旅游胜地，是梦幻般的威尼斯，但对威尼斯历史上的某些女性来说，这里却是一场噩梦和极端的异化。在所有美丽和丰富的文化中，有一种压迫妇女的文化。
妇女的团结提供了一种救赎和愈合修复。一种特殊的亲近感和决心将艾米丽和摄影艺术家引向庇护所/医院大楼。她的认同之旅变成了带有启示暗示的救赎之旅。
这组照片包括跨越时间、身份和地理空间界限的策略。
在过去与现在的十字路口，在几个方向上发生了交汇：艺术家米哈尔-海曼、她的女儿艾米丽-海曼、第 34 盘和第 15 盘，以及观众。我们共同组成了一个支持、解放和拯救的群体。虚拟和想象的现实将救赎的潜力发挥到极致。现在，我们是一个铭记历史、反对对女性的不公、支持弱者的群体的一部分。这是一个具有远见卓识的艺术构想。
In the video, Emily, the artist’s daughter, portrays a traveler in time. She is dressed in a blue patterned dress, similar to the one on Plate 34; she becomes a figure in the photograph. Emily is making a real journey and one in time. In this video work, the journey follows a woman who was hospitalized in Venice in asylum (madhouse) like the one in England. For us, it is touristy and dreamy - and Venice – but for certain women in Venice's history, it was a nightmare and extreme alienation. Within all the beauty and rich culture, was a culture that oppressed women.
Women's solidarity provides a kind of salvation and healing repair. A special sense of closeness and determination leads Emily and the photographer to the shelter / hospital building. Her journey of identification becomes a journey of redemption with hints of revelations.
The series of photographs includes strategies of crossing boundaries of time, identity, and geographical spaces.
At the crossroads between the past and the present, a meeting takes place in a few directions: between the artist Michal Heiman, her daughter Emily Heiman, Plate 34 and Plate 15, and the viewers. Together, we are a supporting, liberating, and saving community. The virtual and imaginary reality brings redemption to its fullest potential. Now we are part of a community that remembers, opposes injustices towards women, and supports the weak. This is a visionary concept of artistic vision.
9. 郭桢/GUO Zhen (1955)
GUO Zhen, New Moon：Cleansing the Woman, 2018
Video (with a Poem), Sound, 7’59’’
郭桢，《朔月亮 – 浴女》， 2018年
录像(配诗)，有声, 7‘59“
月经，女人的周期。 每个月它都会回来。 生命的源泉、人类的诞生、女性的巨大力量，在女性和人类文化中似乎是一种伤口、一种耻辱、一种需要清洗的污垢。 就像米哈尔-海曼（Michal Heiman）的近作中归因于女性的疯狂一样。
许多水都无法清洗想象中的 “伤口 ”和 “污垢”。这个主题是隐藏的，就像淋浴门的防水玻璃。但这一谦逊的主题的曝光，却能改变它在文化中的地位，改变世界上每一位女性的自我认知。这就是艺术的伟大之处。
Every month it returns. Menstruation, the woman's cycle. The source of life and the birth of humanity, the tremendous power of women, seems to women and human culture as a wound, as a shame, and as dirt that needs to be washed. Like madness attributed to women, in Michal Heiman's close work.
Many waters cannot cleanse the "wound" and "dirt" that are imagined. This subject is hidden, like the watertight glass of the shower door. But the exposure of the modest subject can change its status in culture and in the self-perception of every woman in the world. This is the greatness of art.
配诗 Poem:
朔月亮: 浴女
New Moon: Cleansing the Woman
我来的时候
When I came
身体里带着干净的水
With clean water on my body,
脸上有新鲜的风
A fresh wind on my face
淋浴的水跟着我的脚步流着
The water in the shower follows my steps
我的眼泪带来快乐的咒语
My tears cast a happy spell
心在我的乳房旁边驰骋
My heart running inside my breast
手臂抚摸着伤口没感到疼
My hand stroked the wound and did not feel pain
红色流向下水道
Red flows to the sewer
身体在雨中摇晃
My body shaking in the rain
有人可以告诉我为什么我在这里吗？
Can someone tell me why I am here?
是要把我身上太久的污垢洗掉？
Will I wash away this filth I have had so long?
还是要洗掉那我不知道从何时就有的愧疚？
Will I wash away the shame I don't understand?
（未完待续/To be continued···）
苏珊·布罗施-莱维特，出生于以色列，目前生活和工作于特拉维夫、斯坦福和上海。她拥有教育学博士学位，曾在多所学术机构任教，包括特拉维夫大学（1977-2003）、北京外国语大学（2011）和北京大学（2007、2009-2013）。布罗施-莱维特出版过15本著作，发表了大量学术文章。苏珊·布罗施-莱维特策划过多个国际性个展和大型艺术展。
Shoshan Brosh-Levitt, born in Israel, currently lives and works in Tel Aviv, Stanford, and Shanghai. With a PhD in Education, she has worked at multiple academic institutions, including Tel Aviv University (1977-2003), Beijing Foreign Studies University (2011), and Peking University (2007, 2009-2010, 2012-2013). Brosh-Levitt published 15 books and numerous academic articles. Shoshan Brosh-Levitt has curated multiple solo and large-scale international art exhibitions.
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