The Infinite Mix: Sound and Image in Contemporary Video
無限組合: 當代影像裡的聲音與圖像

The Store, 180 The Strand, London, WC2R 1EA

8 September – 11 December 2016


Hayward Gallery in collaboration with The Vinyl Factory will present the gallery’s only major off-site exhibition The Infinite Mix during its two-year refurbishment, taking place at The Store, a new creative space at iconic Brutalist building 180 The Strand.

今年九月,Vinyl Factory(黑膠工廠)與Hayard Gallery(海沃德美術館)將聯手打造大型展覽《無限組合:當代影像裡的聲音與圖像(The Infinite Mix: Sound and Image in Contemporary Video)》。此次展覽為特定場域項目(off-site exhibition),將在全新的創意空間The Store進行。

180 The Strand, The Store

180 The Strand, The Store.

The Infinite Mix will premier immersive audio-visual artworks by leading international artists Jeremy Deller (UK) with Cecilia Bengolea (Argentina), Rachel Rose (USA), Cyprien Gaillard (France), Khalil Joseph (USA), Dominique Gonzalez-Foerster (France), Cameron Jamie (USA) Elizabeth Price (UK) and Ugo Rondinone (Switzerland) and Martin Creed(UK).

多名先鋒藝術家參與了此次展覽:Jeremy Deller,Cecilia Bengolea, Rachel Rose, Cyprien Gaillard, Khalil Joseph, Dominique Gonzalez-Foerster, Cameron Jamie, Elizabeth Price, Ugo Rondinone, Martin Creed,他們的浸沒式視聽作品亦將在展覽上進行英國首映。

21 Martin Creed, Still from Work No. 1701 copy

Martin Creed Still from Work No. 1701, 2013 4 minutes 36 seconds © Martin Creed Courtesy the artist, Hauser & Wirth and Gavin Brown’s Enterprise, New York

Pioneering new approaches to combining sounds and images, the artworks in The Infinite Mix engage us in ways that are conceptually as well as emotionally immersive. Visitors to the exhibition at The Store, 180 Strand will journey through a series of spaces above and below ground, discovering hologram-like installations, multi-screen installations and cinema-style 3-D projections, each of which foreground the role of sound and its relationship to image.


Hayward Gallery Director Ralph Rugoff describes the works, almost all of which have been made within the last three years, as ‘both soulful and audacious’, their compelling back-and-forth between sound and picture drawing us into a conceptual and visceral engagement that will be amplified by seeing them projected on the walls of this labyrinthine building.

幾乎所有展出作品都是在過去三年創作的,海沃德美術館館長Ralph Rugoff讚頌這些作品“既大膽又充滿靈性”。聲音與圖像散落在迷宮一樣的大樓裡吸引著觀者。

“Rather than being driven by linear narratives, these works are structured more musically and seek to engage us on an experiential level,” says Rugoff. “At the same time almost all of these videos draw on conventions of documentary filmmaking. Yet instead of trying to provide an objective record, they often pointedly remix our notions of the real and the staged. These major works ultimately present new possibilities for how the medium of video can engage us in exploring cultural histories, including the poetics as well as the politics of music and performance.

Rufoff說到:“這些作品的結構更具音樂性,而不是直線陳述,因此更好地為觀者提供互動體驗。 另外,幾乎所有影像都採用了紀錄片的風格,但又不僅限於客觀的記錄,而是巧妙地融入了我們對於現實與虛構的概念。這些重要的作品為我們帶來了影像作為媒介的新可能性:如何與觀眾互動,如何帶領觀眾探索文化歷史,發現音樂與表演當中的詩性與政治性。

The exhibition will premiere two newly produced works: Dominique Gonzalez-Foerster’s stunning hologram-like projection Maria Callas and British artist Jeremy Deller and Argentinian choreographer Cecilia Bengolea’s new collaboration, Kingston Dance Competition (2016), a co-commission from Hayward Gallery and the Sao Paolo Biennale. The video will be centred around the annual summer Dancehall dance competition in Kingston, Jamaica, focusing on the participation of contemporary Japanese dancehall dancer Batty Bom-Bom.

兩個全新創作的作品將於該次展覽進行首次展示,分別是Dominique Gonzalez-Foerster的全息投影裝置作品《Maria Callas》,以及英國藝術家Jeremy Deller與阿根廷編舞家Cecilia Bengolea合作的《Kingston Dance Competition(2016)》;後者是Hayward Gallery與聖保羅雙年展共同委託的藝術項目,這段影片圍繞著牙買加金斯頓的夏季舞蹈比賽而展開,追蹤了日本當代舞廳舞者Batty Bom-Bom的參賽過程。

All of the works in the exhibition are being shown in the UK for the first time.


Cyprien Gaillard’s complex and mesmerizing film Nightlife (2015) will be projected in 3D in the cavernous car park of 180 The Strand.  Featuring unforgettable images of dancing gust-blown trees lit up at night in Los Angeles and a drone’s eye view of fireworks exploding over the Berlin stadium built by the Nazi’s for the 1936 Olympics, Gaillard’s visually lush tour-de-force builds a multi-layered tapestry of references to history and racism in both the US and Germany.  All of the imagery unfolds to the artist’s entrancing dub re-mix of a politically charged Jamaican hit song from 1969.

Cyprien Gaillard的影像作品《Nightlife》將採用3D投影的方式投射在停車場空間內。影片閃現著洛杉磯夜裡那些被陣風吹拂的、被路燈照射著的綠樹,納粹於1936年奧運會建造的柏林體育場上空爆破的煙花…Gaillard精心地編織了一段關於美德歷史與種族的迷幻影像,各種圖像的交織伴隨著1969年牙買加大熱的政治歌曲。

Internationally celebrated Canadian artist Stan Douglas explores the intersection of narrative, fact and fiction. In Luanda-Kinshasa (2013), Douglas presents a 1970s fictional jazz-funk band (led by jazz pianist and composer Jason Moran) in the midst of a recording session set in a replica of the legendary Columbia 30th Street Studio. The finely tuned sound mix contributes to the illusion that we are witnessing a continuous “real-time” session, but what appears to be a straightforward improvisation is in fact a fiction: a looping patchwork of edited and repeated parts, seemingly naturalistic yet blatantly unreal.  The cultural-political agenda here is in reference to the cross-pollination of African and American music in the 1970s, set against the (deep) background of anti-colonial revolution in Angola.

享譽國際的加拿大藝術家Stan Douglas探索的是敘事中真實與虛構的交錯。在其2013年的作品《Luanda-Kinshasa》裡,Douglas複製了傳奇的哥倫比亞30號錄音工作室,虛構了一支由爵士鋼琴家兼作曲家Jason Moran領銜的、1970年代的鄉土爵士樂隊,並拍攝了他們的錄音過程。藝術家精心編製的聲音讓觀者產生錯覺,以為自己正親眼目睹一個持續不斷的“實時”拍攝,看起來像是即興的演奏其實是假象:只是一段段經過拼湊剪輯、不停循環的影片。儘管看起來很逼真,卻仔細觀看又那麼地虛幻。作品當中涉及的文化政治議題反映的正是1970年代安哥拉反殖民主義革命背景下美非音樂的互相滲透。

Swiss artist Ugo Rondinone’s Thanks 4 Nothing (2015) is configured as a completely immersive and technically dazzling multi-screen environment, presented on four screens. The video shows a 79-year-old legendary beat poet John Giorno performing his 2007 poem of the same name. Dressed in a tuxedo and standing barefoot on a theatre stage under a dramatic spotlight, Giorno delivers an inspiring poetic monologue with both passion and humour. Virtuoso editing, including a dizzying effect whereby Giorno repeatedly transitions from white tux to black and back again, enhance the propulsive character of the poet’s meditation on life and death.

瑞士藝術家Ugo Rondinone的作品《Thanks 4 Nothing(2015)》打造了一個全浸沒式的、酷炫的多屏展示空間。該作品將在四個屏幕上同時播放John Giorno的詩朗誦表演。79歲的John是垮掉派詩人的傳奇代表人物,他身穿燕尾服,赤腳站於舞台正中央,在聚光燈下充滿激情地朗誦著他2007年創作的詩歌《Thanks 4 Nothing》。藝術家在影片當中使用了炫目的視覺特效,加上精湛的剪輯技術,把Giorno的燕尾服從白色切換到黑色,然後又換成白色,一次又一次的循環重複象徵著詩人對於生死的冥想。

2015 Frieze Artist Award winner Rachel Rose manipulates sound and image through non-narrative collaging and layering. Everything and More (2015) mixes up footage shot at a space-station research facility, a vast crowd at an E.D.M. concert and low-tech galactic abstractions fashioned from household products and filmed with a slow motion camera. The images are accompanied by a soundtrack that sifts together wordless vocals by Aretha Franklin extracted from Amazing Grace using a spectrograph and a recording of the American astronaut David Wolf talking about the pleasures and perils of space.

2015年Frieze得獎藝術家Rachel Rose也參與了此次展覽。她展示的是2015年的作品《Everything and More》。影片裡展示了太空站裡的研究設備,E.D.M.演唱會上擁擠的人潮,日常生活中出現的那些看起來像銀河系圖案的影像…這些毫無關聯的素材影片被拼貼,被重置,而背景聲效則混雜了Aretha Franklin吟唱的《Amazing Grace》,以及美國宇航員David Wolf描述太空美妙與危險的錄音。

11 Rachel Rose still from Everything and More, 2015. HD video, colour, sound, 11 minutes 33 seconds. Courtesy of the artist and Pilar Corrais copy

Rachel Rose Everything and More, (film still) 2015 HD video, colour, sound 11 minutes and 33 seconds Courtesy of the artist and Pilar Corrias Gallery © Rachel Rose

08 Rachel Rose still from Everything and More, 2015. HD video, colour, sound, 11 minutes 33 seconds. Courtesy of the artist and Pilar Corrias

Rachel Rose Everything and More, (film still) 2015 HD video, colour, sound 11 minutes and 33 seconds Courtesy of the artist and Pilar Corrias Gallery © Rachel Rose

French-Brazilian artist Dominique Gonzalez-Foerster has created multiple performance works over the past two decades in which she takes on the personae of historical figures, usually singers and actors.  In her new work Maria Callas (2016), presented using a type of theatrical illusion that creates a hologram-like image floating in space, she recreates a performance by the opera legend of the tragic song Suicdido taken from Ponchielli’s 189- opera La Gioconda. With the image veering back and forth between an almost corporeal solidity and a ghostly transparency, the artist’s performance as Callas evinces a haunting power.

在過去20年裡,法國藝術家Dominique Gonzalez-Foerster經常採用歷史上著名的歌手或演員的人物形象來進行各式各樣的表演創作。在她2016年的新作《Maria Callas》裡,她給觀者創造了一種戲劇幻想,利用全息投影的方式讓人物圖像飄浮在空中。藝術家重塑了一個虛幻的Maria,而她正在演唱Ponchielli的歌劇《La Gioconda》當中一段悲情歌曲《Suicdido》。圖像的虛實切換讓Maria的演繹透露著一股詭祕的氣息。


Dominique Gonzalez-Foerster New Commission, 2016 (Work yet to be titled) Courtesy of the artist

With his ambitious two-screen video m.A.A.d. (2015), Los Angeles-based artist and filmmaker Khalil Joseph takes viewers on an intimate journey through Los Angeles’s African-American neighborhoods, set to a disjunctive remix of documentary sounds and songs from Kendrick Lamar’s 2012 album good kid, m.A.A.d city. Interweaving footage of neighbourhoods and intimate home video footage supplied by Kendrick Lamar, the work crosses the wires of music videos, amateur film footage, documentary essay and magical realism.

旅居洛杉磯的藝術家兼電影製作人Khalil Joseph的參展作品是他2015年的雙屏影像作品《m.A.A.d.》。該影片帶著觀者進行一段私密的旅程,走進洛杉磯的美非聚居地區,窺探美國說唱歌手Kendrick Lamar的家庭生活。這些混雜的素材片段配上現場對話聲音以及來自Kendrick 2012年唱片《good kid, m.A.A.d city》裡的歌曲,使得整個作品充滿了魔幻現實主義色彩,並把它變成了一個綜合了紀錄片、音樂錄影帶與非專業的電影素材的神奇集合。

Similarly, music and sound have long been an essential component of American artist Cameron Jamie’s film work. Described by film director Harmony Korine as “the single greatest dance film ever made,” Jamie’s Massage the History (2007-09) explores a marginal cultural phenomenon: a style of private dance performance developed by young African-American men in suburban living rooms in Alabama. As Jamie’s camera shows the dancers enacting a provocative, sexually charged choreography with the living-room furniture, the title song by Sonic Youth provides a hypnotic soundtrack.

無獨有偶地,美國藝術家Cameron Jamie同樣把聲音與音樂看作是影像裡的重要組成部分。電影導演Harmony Korine曾形容Cameron的作品為“最棒的舞蹈電影”。藝術家的參展作品《Massage the History(2007-09)》探索了這樣一種邊緣文化現象:一種由聚居於阿拉巴馬州郊外的美非年輕人發明的私人舞蹈表演。藝術家的鏡頭捕捉了這些舞者與家具翩翩起舞的場景,這些極具挑逗性意味的舞蹈伴隨的卻是由Sonic Youth演唱的催眠歌曲。

Turner Prize-winner Elizabeth Price’s video installations use a dynamic fusion of image, text and music to explore aspects of social history. Shown in the UK for the first time, the two-screen video installation K (2015) combines archival footage of country singer Crystal Gayle alongside images of a textile factory and on screen lines of text describing a professional mourning troupe.  Blending the sound of country pop with the rhythms of factory machines, whilst inviting us to try to watch, listen and read at the same time, K radically detours our habitual ways of looking and listening.

另一位值得一提的是特納獎得獎藝術家Elizabeth Price,她的影像裝置結合了圖片、文字與音樂,從而進行社會歷史方方面面的探索。該雙屏視頻裝置作品《K(2015》在英國首次呈現,結合了鄉村歌手Crystal Gayle的素材影像片段,同時又穿插著一家紡織工廠的圖像,還添加了一段描繪專業悼念團的文字。這三種影像拼貼配合鄉村流行音樂以及工廠機器舞動的節奏,邀請觀者嘗試進行同時觀看、聆聽並閱讀。可以說,《K》徹底地擾亂了我們常規性的觀看及傾聽方式。

16 Elizabeth Price, K, 2015

Elizabeth Price K, 2015 two screen HD video installation 7 minutes 15 seconds Installation view, Art Basel: Unlimited, 2015 Copyright: Elizabeth Price Courtesy of the artist and MOT International, London & Brussels

Sean Bidder, Creative Director of The Vinyl Factory, says: “We’re excited to be premiering these incredible audio-visual installations at The Store, 180 The Strand – a large scale off-site space across the river from The Hayward whose similarly Brutalist architecture provides the basis for a unique immersive experience that’s different from a traditional gallery environment.”

Vinyl Factory的創意總監Sean Bidder說道:“可以在英國首映這些了不起的視聽裝置作品實在是讓人興奮的事。位於河岸街180號的空間The Store是我們全新的大型展示空間,與同為野獸派建築的Hayward Gallery隔河相對。這個獨特的空間將為觀眾帶來前所未有的浸沒式體驗,跟那些傳統畫廊所提供的觀展體驗截然不同。”

A public programme of live musical performances and events featuring the artists and musicians in the show will take place throughout the exhibition.


The Infinite Mix is curated by Hayward Gallery Director Ralph Rugoff, supported by Assistant Curator Eimear Martin.

《無限組合(The Infinite Mix)》由海沃德美術館(Hayward Gallery)館長Ralph Rugoff策劃,助理策展人為Eimear Martin。


The Infinite Mix

The Infinite Mix

展覽場地:The Store, 180 The Strand, London, WC2R 1EA


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