A Guided Tour (Part 3)
《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： 2024.09.25-2025.1.15
Exhibition time: September 25th, 2024 to January 15th, 2025
18. 吴丹丹/WU DA NDAN [1986]
Wu Dandan , Ad. No.15 , 2015
Embroidery on Original Magazine Paper
C-print, 50 x 35 cm
吴丹丹，《 广告15 号》，2015年
原始杂志上面刺绣
彩色摄影，50x35 cm
Wu Dandan, Anonymous Portraits, No.2 , 2016
Embroidery on Original Magazine Paper
Color Print, 38x27 cm (X 7 pieces)
吴丹丹，《 无名者肖像 2 号》 ， 2016 年
原始杂志上面刺绣
彩色摄影 , 38x27 cm (X 7 张 )
Wu Dandan, Ad. No.5, 2015
Embroidery on Original Magazine Paper
C-print, 50x35 cm (x 2 pieces)
吴丹丹，《广告5号》, 2015年
原始杂志上面刺绣
彩色摄影，50x35 厘米 (X2张)
艺术家出生于 20 世纪 80 年代，经济改革开始后，她接触到了新浪潮和从西方引进的流行文化。她的这一代人喜欢五颜六色的东西，并受到时尚杂志的诱惑。她也受到诱惑，但她想阻止这种势头。她要审视自己的身份。她颠覆了这些时尚符号和品牌，用对比鲜明的色彩、她的手感来抵消它们，在她的手感中加入刺绣（一种传统的女性做法）和痴迷的线条，其目的是挑战消费文化的力量及其陈规定型观念。生活令人担忧，而女性不仅是受害者，也站在反抗的最前沿。
身份不明的肖像画提出了一些问题，例如： 这是谁？ 这是谁？ 他/她/我们的身份是什么？ 我们如何处理这个问题？
我们接下来要讨论的是另一个牵动着几代艺术家的话题： 家庭。 代际链中的女性： 母亲、祖母、女儿和孙女。
Born in the 1980s the artist was exposed to the new wave and the pop cultures imported from the West after the beginning of the economic reform. Her generation gravitates towards colorfulness and is tempted by fashion magazines. She, too, is allured, but she wants to stop the momentum. To examine identity. She disrupts these fashion symbols and brands, cancels them in contrasted colorfulness, in her touch, where she adds in her embroidery [a traditional feminine practice] and obsessive lines whose purpose is to challenge the power of consumer culture and its stereotypes. Life is concerning and women are not only the victims but also at the forefront of resistance.
Unidentified portraits raise questions such as: Who is this? What is his/her/our identity? How do we deal with the issue?
We are moving on to another topic that has employed generations of artists: family . Women in the context of the intergenerational chain: mothers, grandmothers, daughters, and granddaughters.
19. 邢丹文/XING DA NWEN [1967]
Xing Danwen, Thread , 2018
C-Print, 56X100 cm (X2 pieces)
邢丹文， 《线》 ， 2018 年
彩色摄影, 56X100 cm (X2张)
邢丹文出生 于文化大革命时期。 作为摄影艺术家，她获得了国际认可，并参加了知名的国际展览。
这里展示的两张 照片选自她的双通道视频作品《线》。 左侧画面是一双年迈母亲的手在织毛衣，右侧画面则是艺术家娴熟地运动、奔跑的身影，毛衣解开后留下一条长长的线，将她与她留下的东西联系在一起。
编织和解开毛衣、坐着和奔跑等活动强调了代际之间、母女之间的关系，以及新旧女性气质之间日益拉大的差距。
您可以看看这两张照片，然后自己检验一下： 母爱和关怀有多强？一个人可以编织多少？人与人之间的距离能有多远？没有了母性的 “掩护”，还剩下什么？
Xing Danwen was born during a cultural revolution. She achieved international recognition as a photography artist and participates in well-known international exhibitions.
The two pictures presented here are taken from her video work "Thread", which is a dual-channel video. The left frame shows a pair of elderly mother's hands knitting a long sweater, while in the right frame, the artist appears skillfully athletic, running, as the sweater unravels and leaves a long thread, connecting her to what she leaves behind.
Activities like knitting and unraveling, sitting and running, emphasize relationships between generations, between mother and daughter, and the growing gap between old and new femininity.
You can look at both photos and check for yourself: How strong is maternal love and concern? How much can one knit? How much can one distance oneself? What remains without the maternal “cover”?
20. 柯仁·谷乐/Karen G ueller [1974]
Keren Gueller, I Know What You Threw Away Last Month, 2007
Video, 6’26’’ (loop)
柯仁·谷乐， 《 我知道你上个月扔掉什么东西》 ，2007 年
录像， 6 ‘26’’ ，循环播放
在视频 “我知道你上个月扔了什么 ”中，一男一女以俏皮幽默的方式互相扔东西。女人扔出一个特定的物品，但男人接住的却是另一个物品，反之亦然：男人向女人扔出一个东西，但女人接住的却是另一个东西。他们之间关系系统的隐喻性是悲喜剧式的，荒诞不经。
男人和女人是艺术家的父母，因此我们谈论的不仅仅是男人和女人之间的关系，而是母亲-父亲-女儿之间的关系。此外，他们的女儿也在母亲和父亲之间被转移（或许是被抛出）。
录像表演作品改变了这些家庭关系。现在，艺术家指导表演，父母必须合作。Gueller是 “负责任的成年人”，而父母则是孩子。她以自己幼年的短暂记忆为基础，幼年的艺术家理解或不理解她所看到的一切。在表象之下，潜藏着焦虑、疏离、缺乏联系、不理解、攻击甚至暴力。
艺术家就是这样让自己以新的视角看待她的父母，并建立一个更加坚实和强大的自我。
In the video "I know what you threw last month," a man and woman throw objects at each other in a playful and humorous manner. The woman throws a specific object, but the man catches a different object, and vice versa: the man throws something towards the woman, but she catches it as something else. The metaphorical aspect of the relationship system between them is tragicomic and absurd.
The man and the woman are the parents of the artist, so we are not just talking about the relationship between man and woman, but about the relationships of mother-father-daughter. Also, their daughter was transferred (or maybe thrown) between her mother and father.
The work on the video performance changes these family relationships. Now, the artist directs the show and the parents must cooperate. Gueller is the "responsible adult" and the parents are the children. She builds on a brief memory of her early childhood, where the artist as a young child understands / does not understand what she sees. Beneath the surface lurk anxiety, detachment, lack of connection, incomprehension, aggression, and even violence.
This is how the artist allows herself to see her parents in a new light and build a self, which is more solid and strong.
2 1. 塔尔·寿察特/Tal S hochat [1974]
Tal Shochat, A Family Movie , 2017
Video, Sound, 11’52’’
塔尔·寿察特， 《 家族电影 》 ， 2017 年
录像，有声 , 11 分 52 秒
“家庭电影”将家庭传记材料与想象和幻想联系在一起。包括艺术家成年父母在内的人物在一片开阔的沙地上移动，模糊了时间感 。在塔尔·寿察特选择 拍摄视频的地点，曾经有难民营的遗迹。来到这个难民营的难民/移民大多来自北非。随着难民营的关闭，他们被转移到附近的社区，那里的社会经济水平仍然很低。在这个伤痕累累的地方，行走的人物组成了一个长长的队伍，没有开始，也没有结束，就像在林波（基督教伊甸园和地狱之间的区域），不在这里，也不在那里。不清楚的是：这些移民是来还是走？他们看起来很疲惫。只有后面的年轻女孩暗示着积极变化的可能性。
视频的基调低沉，与描述中东和非洲的陈词滥调[大胆的色彩、嘈杂的声音]形成鲜明对比。它唤起了人们对该地 “东方性 ”的思考，并将其呈现为一个背井离乡、漂泊不定的空间。
"Family Movie" connects biographical family materials to imagination and fantasy. The characters, including the artist's adult parents, move in an open and sandy area, which blurs the sense of time. In the location where Shochet chose to film the video, there are remnants of what was once a refugee camp. Most of the refugee/immigrants who arrived at this camp came from North Africa. With the camp's closure, they were transferred to the nearby neighborhood, which still suffers from low socio-economic standards. In this wounded place, the walking characters create a long procession that moves without a beginning or end as if in Limbo [in the Christian area between Eden and Hell], not here and not there. It is not clear: are these migrants coming or leaving? They look tired. Only the young girl behind hints at the potential for positive change.
The subdued tone of the video contrasts with the prevailing clichés in the description of the Middle East and Africa [bold colors, loud noises]. It evokes thoughts on the "Easternness" of the place and presents it as a space of uprooting and wandering.
Tal Shochat, Me and Mother at the Beach, 1999
C-Print, 70X70 cm + 20 cm white margins
塔尔 寿察特 ， 《 我和我的母亲在沙滩》 ， 1999 年
彩色摄影 , 70X70 cm + 20 cm 白边
Tal Shochat, Me and Mother in Bed, 1997
C-Print, 50X70 cm + 20 cm white margins
塔尔 寿察特，《我和我 的母亲在床上》，1997年
彩色摄影, 50X70 cm + 20 cm
从 塔尔·寿察特的摄 影作品中，我们可以看到母女之间的特殊关系。 她的作品虽然是戏剧性的，但却非常个人化，促使我们作为观众从画面中找到自己与母亲的关系。 这些照片将她的亲密关系传达给我们自己的亲密关系。
在一张照片中，艺术家和她的母亲享受着被遮盖的亲密关系，而在第二张照片中则是暴露的亲密关系。她们在床上的相反对称暗示了一种结构和情感和谐的关系，但也有一些矛盾的张力。
沙滩上的照片（同样是沙滩和沙子）所表现出的依赖性和脆弱性可能解释了床上的照片所表现出的距离感。女儿被埋/植入沙中，但仍紧握着母亲的手，但这并不能确保她获得救赎。身为弱女子的母亲并不是公认的无所不能的母亲。尽管如此，母亲的手和背景中的海水还是表达了母女之间流动的、无限的爱。
Looking at Tal Shochat's photographs we see the specific relationship between mother and daughter. Her images are very personal, though theatrical, and they prompt us as viewers to navigate from the image to our own relationships with our mothers. The photographs convey her intimacy to our own intimacy.
The artist and her mother enjoy covered intimacy in one photograph, and exposed intimacy in the second. Their opposite symmetry in bed alludes to a relationship with structural and emotional harmony, but also some contradictory tension.
The dependence and vulnerability presented in the photograph on the beach [again, a beach and sand] may explain the distance shown in the photograph on the bed. The daughter is buried/planted in the sand while still holding her mother's hand, but that does not ensure her redemption. The mother, with a weak female body, is not the accepted all-capable mother. Nevertheless, the hand squeeze, and the sea and water in the background express the flowing and infinite love between mother and daughter.
22. 达利娅·哥特力波·可德姆/Dalia Gottlieb Kedem [1982]
Dalia Gottlieb Kedem, Mother Enough , 2019
Black & White Print, Matt, Wallpaper, 200x200 cm
达利娅·哥特力波·可德姆， 《好得太过的母亲 》 , 2019
哑光墙纸，黑白色 , 200x200 cm
一位母亲正牵挂着她的女儿，而她的女儿却只顾着自己。她也许想去够女儿，但女儿离她太远了。她扭曲的身体试图以杂技的方式保护女儿，但却无力地悬挂在上栏。这是一道无法逾越的鸿沟。
该作品呼应了英国儿科医生和精神分析学家唐纳德-温尼科特在其著作《游戏与现实》（1971 年）中提出的 “好母亲 ”这一说法。[D. W. Winnicott，《游戏与现实》（1971 年）：“足够好的母亲”。］
这部作品展示了女孩（以及一般儿童）的需求与母亲的能力之间的紧张关系，女孩需要绝对的奉献、母性的亲近和无休止的养育，而母亲则需要完美的功能。母亲并不完美，但她已经足够好；女儿和母亲双方都在幻想和现实之间游走。在常规和能力之间游走。
摄影作品极具震撼力，重新诠释了当代亲子关系文化。
A mother is hanging over her daughter, who is focused on herself. Does she perhaps try to reach her, but she is too far away? Her twisted body tries to protect the daughter acrobatically but is hanging powerless on the upper bar. An unbridgeable gap.
The work echoes the expression "good mother", coined by British pediatrician and psychoanalyst Donald Winnicott in his book "Playing and Reality" (1971).
[D. W. Winnicott, Playing and Reality (1971): "The Good Enough Mother"].
The work shows tension between the needs of the girl (and children in general) who require absolute dedication, maternal closeness, and endless parenting, and the mother's ability to function perfectly. The mother is not perfect, but she is good enough; both sides, the daughter and the mother, navigate between fantasy and reality. Between conventions and capabilities.
The photography is powerful and redesigns contemporary culture of parent-child relationships.
23. 玛雅·扎克/Maya Zac k [1976]
Film, Sound, 19’45’’
玛雅·扎克，《 母亲经济》 ， 2007 年
电影，有声, 19‘45”
在二十世纪中叶欧洲发生大屠杀的背景下，我们开始探讨家庭关系。
妇女的生活仍在继续。她们美丽动人，衣着高雅，烹饪美食，按照法律和惯例行事。但这一切都发生在一个在二战期间违反了所有人类规则的世界。
家庭消失了。这位女性坚强地活了下来，她收听着一档关于寻找家人的广播节目，这些家人可能在战争中幸存下来，但却在混乱中迷失了方向。生存和前进的道路与女性的日常工作有关，这些工作与她们的家、家中的物品目录以及传统食物的烘焙有关，这些食物既滋补又令人满意。这是一种母性经济，是国家和世界经济的基础。
We are moving to family relations in the context of the Holocaust that took place in Europe in the mid-twentieth century.
The lives of women continue. They are beautiful, dressed elegantly, cooking, acting according to laws and conventions. But all this is happening in a world that violated all human rules during World War II.
The family disappeared. The woman is strong and surviving, listening to a radio program dealing with the search for family members, who may have survived the war but got lost in the chaos. The path to survive and move on is related to daily female work connected to their home, to the catalog of items in it, and to the baking of traditional food, nourishing and satisfying. This is a mother economy, the basis for the economy of nations and the world.
24. 娃丽达·尼斯姆/Vered Nisim [1980]
Vered Nisim, I Need to Get Through This Life , 2014
Video, Sound, 12'23''
娃丽达·尼斯姆， 《我需要经历这种生活》 ， 2014 年
录像，有声， 12'23''
娃丽达·尼斯姆的视 频作品通过家庭的私人框架来审视身份和社会地位。现实主义和艺术的融合赋予了她的作品传奇般的品质。
作品《如果我告诉你我的生活故事，我的眼泪会流出来》代表了母亲的情感（和感人的行为）与压迫和痛苦的现实之间的紧张关系。
在背景中，在城市贫困一侧剥落的油漆墙上，艺术家放置了一张神奇的热带雨林的海报，这是终极的自然天堂。这就是梦想。在它面前，现实：艺术家的母亲跪在地上，痴迷地擦洗黄色的清洁手套，同时讲述她艰难的人生故事。她工作、说话、唱歌、哭泣，重温自己作为母亲和清洁工的经历。她描述了自己生活的社会背景：一个没有受过教育的移民，她竭尽全力为孩子提供教育。妈妈穿的白色“连衣裙”是用地板抹布做的；她只是外表白而已。她“衣衫褴褛”，就像她所从事的工作一样，但她也戴着像太阳一样黄色的皇冠。
王太后！令人兴奋的工作。这是获得权力的好方法。
The video work of Vered Nissim examines identity and social status through the private framework of her family. The blend of the realistic and artistic gives her work a legendary quality.
The work also entitled "If I tell you the story of my life, tears flow from my eyes" represents the tensions between the emotional (and touching act of a mother) and the reality of oppression and suffering.
In the background, on a peeling-paint wall on the poor side of the city, the artist placed a poster of a magical tropical rainforest, the ultimate natural paradise. This is the dream. In front of it, the reality: the artist's mother on her knees, scrubbing yellow cleaning gloves obsessively while recounting her difficult life story. She works, talks, sings, dances and cries as she relives her experiences as a mother and a cleaning lady. She describes the social context in which she lives: an uneducated immigrant who strives with all her might to provide education for her children. The white "dress" the mother wears is made of floor rags; She is white only in appearance. She is “ragged”, like the job she worked at, but she also shines in a crown as yellow as the sun.
Queen Mother! Exciting work. What a great way to gain power.
25. 胡佳艺/HU JIA YI [1993]
Hu Jiayi, The Watch-out on New Year’s Eve, 2015/2/18
C-Print, 61x102 cm
胡佳艺 ， 《除夕守夜》，2015年2月18日
彩色摄影, 61x102 cm
2015 年 2 月 18 日新年的晚上，艺术家手持步枪，来到吐鲁番 “葡萄沟 ”她的出生地，保护夜晚和她的祖父不被新年打扰。
这里展示的照片选自她在晚上八点到早上八点之间拍摄的视频作品。从 “年 ”这个词可以理解为中国民间传说中的 “年/夜”，她的展示目的并非驱魔。根据她的说法，她的重点是守护家人和家园。极暗的色彩和憔悴的形象代表了时间和人的损失和死亡。作品中女性人物的角色诠释了女性对人类生命责任的复杂性：她们关心父辈和母辈，众所周知，她们也关心子孙后代。因此，在一张将力量和决心永垂不朽的照片中，孙女创造了历史，尽管 “行事得体的女性有时也会创造历史”[历史学家劳雷尔-撒切尔-乌尔里希，1976年]。
On the evening of the new civil year, February 18, 2015, the artist went to her birthplace in the 'Valley of the Grapes' in Turpan, holding a rifle to protect the night and her grandfather from the New Year.
The photograph presented here is taken from a video work she filmed between eight in the evening and eight in the morning. The purpose of her presentation was not to exorcise demons, as can be understood from the term "Nian," which translates to "year/evening" in Chinese folklore tales. According to her words, she focuses on safeguarding her family and homeland. The very dark colors and the haggard figure represent the loss and death of time and people. The role of the female figure in this work illustrates the complexity of female responsibility for human lives: they care for the generations of fathers and mothers, and as is known, they also care for future generations. Thus, in a photograph that immortalizes strength and determination, the granddaughter makes history, though "women who act as befitting sometimes make history" [according to historian Laurel Thatcher Ulrich, 1976].
2 6. 文慧/WE N HUI [1960]
Wen Hui, Dance With My Third Grandmother, 2015
Video, Sound
文慧， 《与三奶奶共舞》，2015年
录像，有声， 15’
艺术家的曾祖母经历了中国历史上因社会和政治运动而动荡不安的几十年，这部敏感的录像作品展现了她与曾祖母之间的会面和访谈。
作品通过舞蹈和对话的动作呈现了艺术家和她年迈的祖母之间的互动，其中包含了像歌曲一样的重复。这是一种熟悉的女性实践，当它在矮凳上进行并以最后生命的力量进行时，会获得特殊的力量。
作品聚焦于社会不稳定背景下的女性生活。它展现了女性个体的生存智慧、顽强的生命力、家庭内部和女性之间的团结。它还展现了保存妇女历史而不仅仅是男性英雄历史的承诺。这种代际之间的联系触动人心！
This sensitive video work presents a meeting and interview between the artist and her great-grandmother, who experienced the tumultuous decades in the history of China, which were caused by social and political movements.
The work presents an interaction between the artist and her very old grandmother through movements of dance and conversation that contain repetitions like in a song. This is a familiar feminine practice that gains special power when it takes place on low chairs and with last-life strength.
The work focuses on the lives of a woman/women against a backdrop of social instability. It presents the wisdom of survival of the individual woman, the resilience that remains, the solidarity within family and among women. It also presents the commitment to preserve the history of women heros, not just the history of male heroes. This intergenerational connection touches the heart!
27. HU HAIBO [1987]
Hu Haibo, Day and Night (Waltz), 2017
Video, sound
胡海博，《日夜》（华尔兹）， 2017年
录像，有声， 3’44”
这件敏感的录像作品展现了艺术家与曾祖母的会面和访谈，曾祖母经历了中国历史上因社会和政治运动而动荡不安的几十年。
2017年，这位艺术家在前往西藏的隧道中遭遇车祸，她的生活发生了巨大变化。胡海波受了重伤。死亡的恐惧让她窒息。各种画面像电影一样在她脑海中闪过。
“顺时针“（另一个名字是 ”华尔兹"）是其公路事故的一种再现，但方式更加戏剧化。汽车飞速穿过一系列隧道。镜头后一位看不见的主角看到人们在梦幻般的场景中埋葬尸体、哀悼、举行仪式。作品的配乐--德米特里-肖斯塔科维奇（Dmitri Shostakovich）创作的乐观主义音乐《圆舞曲第二号》--以及视觉剪辑、电影戏剧化的 “费里尼 ”风格，营造出一种宣泄创伤的效果。最后，我们以一种欢快而有力的声音来表达艺术治愈创伤的力量。
The work deals with a dramatic event in the life of the artist and the power of imagination to process trauma and create a healing process. This is the power of art as well as the healing power of women.
The artist's life changed dramatically when she was involved in a car accident in a tunnel heading towards Tibet in 2017. Hu Haibo was seriously injured. The fear of death choked her. Images flashed through her mind like movies.
"Clockwise" (alternative name “Waltz”) is a kind of reconstruction of its road accident but in a much more dramatic way. The car speeds through a series of tunnels. An unseen main character behind the camera sees people in dreamlike scenarios, burying bodies, mourning, conducting rituals. The soundtrack of the work - the optimistic music Waltz No. 2 by Dmitri Shostakovich - as well as the visual editing, cinematic-theatrical-"Fellini" style create a catharsis of trauma. We conclude with a joyful and powerful voice dealing with the power of art to heal.
策展人介绍
About the Curators
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. She has curated multiple solo and large-scale international art exhibitions.
张芳 ，1990年代主要从事英语教学及翻译工作。2000年后开始参与一些当代艺术的创作和推荐并组织展览的工作。2010年后与国外的艺术学院合作讲授国际当代艺术史，并开始撰写关于中国当代摄影的系列文章。2020年后的主要研究方向是中国当代摄影的近四十年的发展以及在海外的展览及收藏。
Zhang Fang, in the 1990s, mainly engaged in English teaching and translation. After 2000, Zhang Fang began to participate in the creation, recommendation, and organization of exhibitions of contemporary art. After 2010, Zhang Fang collaborated with art schools abroad to teach the history of global contemporary art and began writing a series of articles on contemporary Chinese photography. The main research project after 2020 focuses on the development of contemporary photography in China over the past forty years, as well as its exhibitions and collections overseas.
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