Whitechapel Gallery–On Now
白教堂畫廊:在展展覽


Elmgreen & Dragset: This Is How We Bite Our Tongue,

27 September 2018 – 13 January 2019

Installation view at the Whitechapel Gallery. Elmgreen & Dragset: This Is How We Bite Our Tongue Photo: Jack Hems

Working together since 1995, artist duo Michael Elmgreen (b. 1961, Denmark) and Ingar Dragset (b. 1969, Norway) produce beguiling spatial scenarios that explore social and sexual politics and unveil the power structures embedded in the everyday designs that surround us. In their uncanny installations, institutional spaces are transformed into metaphors for individual desires and collective identities with subversive wit and tongue-in-cheek melancholy.

This exhibition juxtaposes a survey of their emotional figurative sculptures with an extraordinary new large-scale installation that meditates on the fate of civic space.

 

邁克·艾莫格林與英格爾·德拉戈塞特:This Is How We Bite Our Tongue 
展覽日期:2018年9月27日 至 2019年1月13日
Michael Elmgreen 邁克·艾莫格林1961年生於丹麥,Ingar Dragset英格爾·德拉戈塞特1968年生於挪威,這對超現實的標誌性戀人組合自1995年以來壹直在創造令人眼前壹亮的展覽。1997年兩人搬至柏林,目前已知生活和工作於柏林。他們壹直致力於探索設計、建築和藝術間的關系。
二人合作的藝術作品充滿著具有反諷意味的幽默,但同時又著重於關註當下嚴肅的文化社會問題。他們創作了大批裝置、環境、表演藝術。此次展覽他們將情緒化的人像雕塑與反思公共空間命運的大型裝置作品並列,用藝術隱喻個體的欲望和集體化的身份認同,就像舌頭在口腔中發出的哀鳴聲。

 

 

 

Ulla von Brandenburg: Sweet Feast,

20 September 2018 – 31 March 2019

(In partnership with Le Prix Marcel Duchamp)

Ulla von Brandenburg, Production still from Sweet Feast, 2018, super-16 mm film, colour, sound. Courtesy the artist

Five hundred children visited Whitechapel Gallery on 28 January 1973 to learn about sweets as a popular art. An enticing display of confectionary including Belgian chocolate coins, French lollipops shaped as the Eiffel Tower, gummy mice from Germany, coffee-flavoured Hopjes from Holland, Italian marzipan fruits, salty licorice from Denmark, Irish mints and toffee from Yorkshire – was part of the ‘Fanfare for Europe’ celebrations, marking Britain’s entry into the European Common Market. Billed as a ‘Sweet Feast’, visitors were invited to sample candies that had been donated by some of the manufacturers. The exhibition came to an unexpected end when the children overwhelmed the guard and devoured all the displays.

A new film by Ulla von Brandenburg (b. 1974, Germany) commissioned by Whitechapel Gallery with Le Prix Marcel Duchamp, following her nomination in 2016 for this prestigious annual award, recreates the event. Renowned for a body of work drawing on theatre and performance to explore complex social issues, von Brandenburg has also designed a colourful seating structure resembling a landscape, transforming spectator into participant.

Filmed with children from the Arnhem Wharf Primary School, von Brandenburg explores the dynamics between the individual and the group; and the hopes of young people at a time when Brexit may limit opportunities for future generations.

 

 

烏拉·馮·勃蘭登堡:甜蜜盛宴
展覽日期:2018年9月20日 至 2019年3月31日
在1973年的1月28日,五百名孩子來到白教堂畫廊學習糖果是如何成為流行藝術的。比利時巧克力金幣、法國埃菲爾鐵塔形的棒棒糖、德國鼠形橡皮糖,荷蘭咖啡糖、意大利杏仁蛋白軟糖、丹麥鹹甘草、愛爾蘭薄荷和約克夏太妃糖以誘人的方式展列;這是“嘹亮歐洲”慶典中的壹部分,彼時為了慶祝英國加入歐盟貿易市場。在甜蜜盛宴這場展覽中,主辦方邀請造訪者品嘗由贊助商提供的糖果。這個展覽後來發展的不可控制,孩子們蜂擁而至,吃光了所有展品。
繼2016年獲獎後,烏拉·馮·勃蘭登堡由白教堂畫廊委任創作新影片以重現當年場景。勃蘭登堡以劇場藝術聞名,擅長用行為藝術的形式去探索復雜的社會問題。她也喜歡將觀眾席設計的色彩繽紛,且將座位以特殊方式排列,使觀者融入為參與者。
勃蘭登堡在這部影片中主要拍攝了Arnhem Wharf小學的學生們,探索個體和集體見的動態,也對在脫歐時代下未來可能渺茫的年輕人們寄托了祝願和希望。

Surreal Science:Loudon Collection with Salvatore Arancio

25 August 2018 – 6 January 2019

Leopold (1822-95) and Rudolf (1857-1939) Blaschka, Glass model of a Portuguese man o’war, Mid to late 19th century, 14 x 8 x 8 cm. Germany. Image Courtesy George Loudon Collection, Photograph by Rosamond Purcell

On encountering an exquisitely rendered glass jellyfish and other invertebrates by Leopold and Rudolf Blaschka in the Natural History Museum at Harvard University in 1998, Dutch art collector George Loudon began an extraordinary collection of scientific objects. These 19th century teaching models and illustrations were created for handling and contemplation in the pursuit of knowledge of the natural world.

The collection now contains over 200 objects, crafted from unexpected materials including lost-wax casts, minerals, velvet, ivory and glass and extends to strikingly-illustrated books, prints, drawings and anatomical specimens from taxidermied animals to bisected human skulls and papier-mâché flowers.

Whitechapel Gallery invites Salvatore Arancio (b. 1974, Italy) to select from and respond to the collection in an exhibition that stages the objects in dialogue with the artist’s own works. Arancio is renowned for his fantastical prints and ceramics that erupt in vividly chromatic biomorphic forms. He has devised a surreal scenography filled with sound, light and his own ceramic sculptures. They are juxtaposed with scientific objects to create startling hybrids and poetic narratives including a 19th century treatise on the shape and colour of human souls. A film with a new soundtrack by The Focus Group musician Julian House takes nature documentaries as its starting point.

Inner and outer worlds are brought together in an installation that illuminates a rare collection devoted to exploring and understanding the mysteries of nature and existence through scientific enquiry.

 

 

超現實科學:隆頓收藏與薩瓦多爾·阿蘭喬
展覽日期:2018年8月25日 至 2019年1月6日
自從1998年在哈佛大學的自然歷史博物館中發現奇異的玻璃水母和其他神奇生物,荷蘭藝術收藏家喬治·隆頓開始收藏非同凡響的科學物品。這些十九世紀用來教學的道具和插畫展示了當時人們對於自然世界的理解。收藏現含物品超200件,制作工藝包括失蠟法,材料含礦物質、絲絨、象牙和玻璃,種類包含插圖書、印刷、繪畫、解剖標本。
本次展覽白畫廊教堂邀請薩瓦多爾·阿蘭喬從收藏中挑選出壹些可以和他自己藝術作品想呼應的物品進行展覽。阿蘭喬以精巧的印刷,和生動的生物形象陶瓷作品聞名。此裝置展覽展示了自然的內在和外部世界,帶領觀眾用科學的手段去探索和解讀大自然的神奇性。

 

 

 

 

 

Staging Jackson Pollock

4 September 2018 – 24 March 2019

Installation view, Jackson Pollock, Whitechapel Gallery, 1958; Whitechapel Gallery Archive. Photo by Sam Lambert

The revolutionary painting of American Abstract Expressionist Jackson Pollock (1912–1956) was premiered in the UK in 1958 at the Whitechapel Gallery. Travelling to Europe from New York’s Museum of Modern Art after Pollock’s untimely death, the show provoked bewilderment and excitement. Six decades on, Pollock’s masterpiece Summertime 9A (1948) returns to
the Whitechapel.

Director Bryan Robertson had decided that the Gallery should be as audaciously modern as Pollock’s art and invited architect Trevor Dannatt (b. 1920, UK) to design the exhibition. Dannatt’s constructivist design transformed the salon style gallery into a white cube. His ‘cohesive architectural ensemble’ included freestanding breezeblock walls, black panels, footlights, and an undulating ceiling of suspended fabric immersing visitors in a powerful encounter with painting as environment. MoMA’s International Programme was rumoured to be sponsored by the Central Intelligence Agency (CIA) as part of a raft of cultural initiatives serving as soft power in the Cold War. Abstract Expressionism was used to emblematise freedom of expression, countering the communist ideology of the Soviet Union.

Staging Jackson Pollock also includes rare archival material and an exclusive recent interview with Dannatt, to revisit how the show was organised and the reasons for its profound significance.

 

 

傑克遜·波洛克
展覽日期:2018年9月4日 至 2019年3月24日
美國抽象表現主義藝術家傑克遜·波洛克的革命性繪畫作品在1958年的白教堂畫廊首次亮相英國。從紐約的當地藝術博物館而來,這幅畫給英國帶來巨大的迷惘和激動。60年後的今天,波洛克的經典作品《夏日9A(1948)》回到了白教堂畫廊。
畫廊邀請了建築師Trevor Dannatt來設計展覽。達奈建構式的設計將沙龍風格的展廳轉化成為白立方式展廳。他統壹的設計風格包含可獨立站立的焦渣石墻、黑色嵌板和波浪起伏狀的吊頂。
此次展覽同時包含了罕見的檔案材料,和獨家對達奈的采訪,這些材料共同展示當初舉辦波洛克展覽時的過程和其深遠的影響。

Mikhail Karikis: No Ordinary Protest, 

18 August 2018 – 6 January 2019

Mikhail Karikis, No Ordinary Protest, 2018. Commissioned by Film and Video Umbrella, Middlesbrough Institute of Modern Art and Whitechapel Gallery, London. Courtesy Mikhail Karikis

Can sound mobilise socio-political and physical change? Working across film, sound and performance, Greek-British artist Mikhail Karikis (b. 1975) adopts the children’s science fiction novel ‘The Iron Woman’ (1993) by British writer Ted Hughes (1930–98) as an ecofeminist parable in which communal listening and noise-making become tools to transform the world.

In this story, a female superhero gifts children with a mysterious power: a noise. Transmitted by touch, it resonates with the collective howl of creatures affected by the pollution of the planet. As the children take matters into their own hands, they infiltrate factories and ‘infect’ adults with their demand for immediate action.

For this new commission, Karikis engaged over the course of a year with a group of seven-year-olds from Mayflower Primary School in East London. Together they created a film that reflects on the environmental themes of the book and imagines the enigmatic noise that assists the protagonists’ protest. Improvising with vocalisations, musical instruments and toys, the group conduct cymatic experiments whereby a sound or vocal utterance takes on unique visual forms. Creating landscapes that transform with sound vibrations, the results echo the power to mobilise change through ‘noise’.

As the children debate, a sense of responsibility towards the environment and an activist imagination emerge. They become luminous agitators revelling in the shape-shifting properties of sound and its power to vibrate the material universe.

米卡爾·卡裏亞斯:沒有普通的抗爭
展覽日期:2018年8月18日 至 2019年1月6日
聲音能改變社會政治嗎?聲音能帶來物理性的改變嗎?米卡爾·卡裏亞斯用電影、聲音和表演的手段講述了英國作家泰得·休斯兒童科幻小說作品《鋼鐵女俠》,在故事其中,共同的聆聽和噪音產出能轉化為改變世界的工具。
在這個故事中,女超級英雄給予孩子們壹項特殊的能力:噪音。通過共同發出噪音,他們的能力“滲透”進工廠,“感染”成年人,進而使他們服從自己的命令。
影片拍攝地為東倫敦的五月花小學,拍攝對象是小學裏的七歲學生們。

 

 

 

 

 

Artists’ Film International: Musa paradisiaca, Yim Sui-Fong, Le Xuan Tien

4 December 2018 – 27 January 2019

Yim Sui-Fong, Blackbird Island , 2017, HD Video, sound, colour. Courtesy the artist

Musa paradisiaca is a collaborative duo named after a hybrid banana species. Their film, Masters of Velocity (2017), looks at objects and their environments, utilising dialogue and music to imagine how ‘a chainof events breeds moving thought’.

In Black Bird Island (2017) Yim Sui-Fong (b. 1983, China) observes the pigeon colonies of Hong Kong following the 1997 handover of the island from Britain to China, linking the history of the birds and Hong Kongers through ‘bird’s eye’ and ‘people’s eye’ views.

Le Xuan Tien (b. 1995, Vietnam) sources videos and images from the less visible edges of the internet in Untitled.mp4 (2017) to construct a montage of sometimes disturbing and surreal scenarios that may or may not have taken place.

Musa paradisiaca selected by MAAT, Lisbon; Yim Sui-Fong by Para/Site, Hong Kong; Le Xuan Tien by Hanoi DOCLAB, Hanoi

 

 

藝術家國際影像
Musa Paradisiaca: 嚴瑞芳與田樂軒
展覽日期:2018年8月18日 至 2019年1月6日
Musa paradisiaca是嚴瑞芳和田樂軒二人組合的名字,根據壹種雜交香蕉命名。他們的合作電影《速度大師(2017)》將焦點對準物體和物體周遭的環境,用對話和音樂想象事件發生鏈是怎樣孕育出流動思考的。
嚴瑞芳出生於1983年的中國。在她的作品《黑鳥島嶼》中,她觀察了97年英國回歸香港給中國時鴿子們的生存領地,將鳥的歷史與香港人的歷史連接在壹起,以鳥眼和人眼的視角分別進行觀察。
田樂軒出生於1995年的越南。他的作品《未命名.mp4(2017)》用互聯網上的視頻和照片素材建構出蒙太奇畫面,這些令人不安的超現實鏡頭或曾或不曾在真實世界中發生過。