兰博·卡勒卡 Ranbir Kaleka 印度 India

兰博·卡勒卡 Ranbir Kaleka 印度 India

《水壶》,2010 KETTLE, 2010  在印度,每个物品都是可以回收的。在这个拥有饮茶文化的国度,这个故事讲述了一个不起眼的小水壶如何从商铺进入到一间好厨房的旅程。这个水壶在被第一个主人遗弃后,被认领过一次,之后却再次被扔掉转而又被认领。间隔之间,画作的虚幻深度被挡在水壶摄影画面前的手之剪影所毁,用以确认画布的平面度和构建起这个装置:在开始它每秒25帧循环运动之前的一个人工制品。在《水壶》这件作品中,艺术家将图像与路边卖茶的小贩结合一起,小贩是给我们供应了无数杯茶水的人。卡勒卡选用这个在炉灶上煮水的壶,而其背景每隔几秒钟都在变化,从厨房的窗户到存储柜,再到被垃圾和杂草包围的简易炉灶。艺术家在这个创意中只使用了一个单一的表面,覆盖了整个视频投影绘像。在他的作品中,有运用到单帧拍摄,多屏幕,以及极度活跃景观下的静态人物这些技巧。  In India everything is recycled. In the country of tea-drinkers this is the story of a humble Kettle’s journey to a good kitchen from a shop. After serving the first owner the kettle is abandoned, claimed, abandoned again and reclaimed. At intervals illusionary depth of the painting is destroyed by the silhouetted shadow of a hand blocking the videoed image of the kettle to confirm the flatness of the canvas and establish the installation as only an artefact before the loop begins again its 25 frames-a-second spell of movement and depth. In The Kettle, an image associated with roadside chaiwallah, the person who keeps us supplied with innumerable cups of tea, Kaleka uses a kettle that simmers away on a hob, while the background changes every few seconds from a kitchen window, to a storage cupboard to an improvised stove surrounded by garbage and brambles. The artist uses a single surface for this creation, overlaying the painted image with video projection. His oeuvre includes the use of single frame shots, multiple screens and still characters among a hyperactive landscape.  

《水壶》,2010
KETTLE, 2010

在印度,每个物品都是可以回收的。在这个拥有饮茶文化的国度,这个故事讲述了一个不起眼的小水壶如何从商铺进入到一间好厨房的旅程。这个水壶在被第一个主人遗弃后,被认领过一次,之后却再次被扔掉转而又被认领。间隔之间,画作的虚幻深度被挡在水壶摄影画面前的手之剪影所毁,用以确认画布的平面度和构建起这个装置:在开始它每秒25帧循环运动之前的一个人工制品。在《水壶》这件作品中,艺术家将图像与路边卖茶的小贩结合一起,小贩是给我们供应了无数杯茶水的人。卡勒卡选用这个在炉灶上煮水的壶,而其背景每隔几秒钟都在变化,从厨房的窗户到存储柜,再到被垃圾和杂草包围的简易炉灶。艺术家在这个创意中只使用了一个单一的表面,覆盖了整个视频投影绘像。在他的作品中,有运用到单帧拍摄,多屏幕,以及极度活跃景观下的静态人物这些技巧。

In India everything is recycled. In the country of tea-drinkers this is the story of a humble Kettle’s journey to a good kitchen from a shop. After serving the first owner the kettle is abandoned, claimed, abandoned again and reclaimed. At intervals illusionary depth of the painting is destroyed by the silhouetted shadow of a hand blocking the videoed image of the kettle to confirm the flatness of the canvas and establish the installation as only an artefact before the loop begins again its 25 frames-a-second spell of movement and depth. In The Kettle, an image associated with roadside chaiwallah, the person who keeps us supplied with innumerable cups of tea, Kaleka uses a kettle that simmers away on a hob, while the background changes every few seconds from a kitchen window, to a storage cupboard to an improvised stove surrounded by garbage and brambles. The artist uses a single surface for this creation, overlaying the painted image with video projection. His oeuvre includes the use of single frame shots, multiple screens and still characters among a hyperactive landscape.
 

《拿着小公鸡的男人》,2001—2004年,双屏录像,29秒循环,无声 Man with Cockerel, 2001-2002, 2 channel video, 29 seconds loop, no sound   一个秃顶的男人,面部表情平静,像一尊佛,不停地把一只小鸡抓住又放开、抓住又放开:这段周而复始的柔性灰色影像呈现了对欲望的挑逗性理解,同时又讲述了一个关于剥夺的寓言。卡勒卡的主题十分的表意,这体现为其录像化身的形式和简洁,延续谬论的骗局,或者是纯粹的无常,它抹去了所指之意。在消融或消失的边缘处,这部影像可以理解为一个死亡指数。它的日常身份从属于一种脆弱的存在感,这种存在并不需要表达和行动,却依赖于生存在最低限度的绵延。再现的语言进入阈限区,这种遭遇显得满怀希望、平静而又短暂,就仿佛是一首俳句,提出了有关人生的假设,也不需要任何证据的支持。  A bald man with a placid, Buddha-like face, clutching and letting go then clutching and letting go a plumed fowl: this rhythmically repeated, soft-gray image offers a tantalizing grasp of desire, an allegory on dispossession. Kaleka’s subject-matter is representational and yet, by the form and brevity of its videoed avatar, by a trick of durational fallacy, by sheer transience, it erases its signified meaning. The imaged body – at the brink of dissolution and disappearance – reads like an index of mortality. Its quotidian identity is subordinated to a fragile sense of being where no assertion, no action is necessary except that which trusts in a minimal continuum of survival. The language of representation enters the liminal zone and the encounter, sanguine, serene, evanescent, resembles a haiku where the hypothesis offered about a lived life needs no backing of proof.

《拿着小公鸡的男人》,2001—2004年,双屏录像,29秒循环,无声
Man with Cockerel, 2001-2002, 2 channel video, 29 seconds loop, no sound


一个秃顶的男人,面部表情平静,像一尊佛,不停地把一只小鸡抓住又放开、抓住又放开:这段周而复始的柔性灰色影像呈现了对欲望的挑逗性理解,同时又讲述了一个关于剥夺的寓言。卡勒卡的主题十分的表意,这体现为其录像化身的形式和简洁,延续谬论的骗局,或者是纯粹的无常,它抹去了所指之意。在消融或消失的边缘处,这部影像可以理解为一个死亡指数。它的日常身份从属于一种脆弱的存在感,这种存在并不需要表达和行动,却依赖于生存在最低限度的绵延。再现的语言进入阈限区,这种遭遇显得满怀希望、平静而又短暂,就仿佛是一首俳句,提出了有关人生的假设,也不需要任何证据的支持。

A bald man with a placid, Buddha-like face, clutching and letting go then clutching and letting go a plumed fowl: this rhythmically repeated, soft-gray image offers a tantalizing grasp of desire, an allegory on dispossession. Kaleka’s subject-matter is representational and yet, by the form and brevity of its videoed avatar, by a trick of durational fallacy, by sheer transience, it erases its signified meaning. The imaged body – at the brink of dissolution and disappearance – reads like an index of mortality. Its quotidian identity is subordinated to a fragile sense of being where no assertion, no action is necessary except that which trusts in a minimal continuum of survival. The language of representation enters the liminal zone and the encounter, sanguine, serene, evanescent, resembles a haiku where the hypothesis offered about a lived life needs no backing of proof.

兰博·卡勒卡
1953 年生于印度伯蒂亚拉,曾就读于昌迪加尔的旁遮普大学,以及伦敦皇家艺术学院。他生活和工作于英国和印度 两个国家。三十年来,他在绘画方面成就显著,同时其数字和媒体艺术作品也将这两者的优势结合并发挥到极致。 在超过30年的媒体艺术实践中,卡勒卡的作品取得了国 际上的认可:它们在威尼斯、柏林、里斯本、维也纳、纽约、墨西哥城和悉尼的博物馆、画廊和双年展中均有展出。卡勒卡的首次个展是在 1995年新德里的今日艺术画廊举办 的,后来他又多次在孟买 VoLTE 画廊、纽约百色 PACIA 画廊、芝加哥斯珀特斯博物馆等地举办了个人展览。他还参加了许多群展,包括米兰比可卡的城市礼仪展,2007 年的在柏 林美术馆举办的“喇叭,请!当代印度艺术中的叙事”展,迈阿密海滩巴塞尔艺术展中艺术录像厅和 2006 年在韩国 釜山现代艺术馆举办的“饥饿的上帝:印度当代艺术”展,图像:威尼斯双年展印度当代艺术和 2005 年在纽约的亚 洲协会展出的“边缘欲望:印度近代艺术”,还有于 2004 年里斯本Culturgest 艺术中心展出的“缩放!当代印度艺术”。 
卡勒卡近期的录像装置《不透明水之府》(2013 年),已入围盛名在外的 2014年签名艺术奖。他的画作,无论是在 纸上还是画布上,使用油或者其他混合媒介,几乎都是对日常生活场景的超现实处理。画作的有形属性(重量,纹理) 结合起实际的彩色颜料的浓度,为他的作品增添了一层稳定性和持久性。与之平行的是,录像中光的图像所具有的空间性元素则给他的作品带来了短暂、暂时、无形与之前截然不同的特质。 

Ranbir Kaleka
Ranbir Kaleka was born in 1953 in Patiala. He was educated at the Punjab University, Chandigarh, and the Royal College of Art, London; he has lived and worked both in Britain and India. Across the three decades he has produced both a remarkable body of paintings as well as digital and media works that combine the best of both. With over 30 years of media art practice, Ranbir Kaleka’s works have achieved significant international recognition: they have been exhibited in museums, biennials, and galleries in Venice, Berlin, Lisbon,Vienna, New York, Mexico City and Sydney, among others. 
Following his first solo exhibition at Art Today Gallery in New Delhi in 1995, Ranbir Kaleka has held numerous solo exhibitions including shows at Volte Gallery,Mumbai ,Bose Pacia Gallery in New York, Spertus Museum Chicago. Kaleka has also participated in many group exhibitions, including Urban Manners at Hangar Bicocca in Milan and HORN PLEASE: The Narrative in Contemporary Indian Art in Berlin Art Museum in 2007, Art Video Lounge in Art Basel Miami Beach and Hungry God: Indian Contemporary Art in Museum of Modern Art in Busan in 2006, iCon: Contemporary Indian Art in Venice Biennale and Edge of Desire: Recent Art in India in New York Asia Society in 2005, and Culturgest- Lisbon and Zoom! Art in Contemporary India in Lisbon in 2004. The artist’s recent video installation ‘House of Opaque water’,2013 has been shortlisted for the prestigious Signature Art Prize 2014. Kaleka’s paintings, both on paper and canvas, in oils as well as mixed media, are almost surrealist in their treatment of scenes from everyday life. The tangible attributes of painting (weight, texture) combined with the density of the actual color pigment add a layer of stability and permanence to his work. Parallelly, video with its spatial element of being an image made of light brings the opposing qualities of the fleeting, temporary and the intangible aspects to his work. 
 

哈伦·法罗基 Harun Farocki 德国 Germany

哈伦·法罗基 Harun Farocki 德国 Germany

文敬媛和全浚皓 Moon Kyungwon & Jeon Joonho 韩国 South Korea

文敬媛和全浚皓 Moon Kyungwon & Jeon Joonho 韩国 South Korea