卡特琳·比约卡 Catherine Biocca

卡特琳·比约卡 Catherine Biocca

展览现场1.jpg

与四维相会 
Meeting 4D
影像装置Video Installation
2015
由今格空间支持 Courtesy of Ginkgo Space 

在卡特琳·比约卡影像作品中出现的人物,乍看之下会让你想起那些在某些活动和普通场景中平凡的卡通动画角色。人类行为和熟悉场景的简约勾勒,构建出简化的数字式拼贴,其中总会出现残忍或喜剧的元素。她结合图像、动画和时尚元素去构造平面化和拟人的生 物,在二维的世界里完成其动画。她感兴趣的是如何利用与程序代码创作反向的可能性。发掘新的潜力,扩展数字媒体的边界,不同层次的图像碎片依然明显可见。卡特琳在不批判的情况下,轻松解构许多动画电影和娱乐节目中喜剧成分为表象,大多以潜在的暴力主导了剧情的发展的现实。卡特琳一直尝试改变和挑战观众的惯性预期,并通过多层次的铺排建立崭新的感知和现实空间。 ——吉斯林德·高勒 

The characters in Catherine Biocca’s video works call to mind cartoon or animated figures that are embedded in events and simple settings that seem trivial at first. Snapshots of human behavior and found scenes form the basis for short digital collages in which an element of brutality or comedy always inheres. Biocca combines graphics, animation, and fashion programs to shape her flat, anthropomorphic beings that she then animates in two-dimensional worlds. What interests her here is the possibility of utilizing these programs contrary to their inscribed program codes. New potentials are identified and the bounds of the digital material tested out, whereby the breaks and levels of the different fragments remain visible. The potential violence defining the plot and above all the comedy of many animated films and entertainment programs is deconstructed, yet non-judgmentally. The artist is interested in disrupting and challenging habitual viewer expectations, and through the juxtaposition of different levels she develops new spaces of perception and reality. —Gislind Koehler 

展览现场2.jpg

与四维相会 MEETING 4D 

A: 难以置信,我搞不懂。欸,告诉我,为什么你什么都不做? 
B: 去死吧,我就这个意思,去死吧。给我滚。 

A: 好吧,为什么你啥都不做?你终日无所事事的。
B: 我知道自己在做什么,请你不要干涉我的事情。给我滚。 

A: 告诉我,难道你不会抚心自问为何自己一直无所事事? 
B: 妈的,我无法相信你现在面对的正是我在面对的。 

A: 难道你不会想去做点什么?什么都好?你现在一整天都在瞎混,连瞎混都算不上,你根本什么都没做。
B: 先管好你自己的废话。我有管过你的事情吗?我有告诉过你该做什么吗?有问 过你为什么要做这事吗?我从来没有过问吧。 

A: 不可思议!我彻底无语了。
B: 那就干点别的吧。把脸转过去!你一直看着我这边很烦人。好像被人一直盯着,我做不了自己的事情。 

A: 对不起,但我不太明白,怎么会这样?
B: 为什么你不去喝杯茶呢,冷静一下自己。 可能喝两杯茶更好。或者给你很久没联系的朋友打一通电话。一般人都会这样。给朋友打个电话,然后问对方的近况 和他在做什么。去打个电话吧。
 
A: 我真不明白。
B: 去忙点别的吧,别管我在干什么了。我在忙我的事情,请你别管我在忙什么。 

A: 那很无聊。 你啥事不干不觉得无聊吗?
B: 我可忙着呢,只是你不知道而已。我不会告诉别人尤其是你自己在忙什么。这也是为什么你不会知道我在干什么,因为我压根不会告诉你。 

A: 我的意思是无所事事一定很无聊吧。
B: 难道你没有自己的爱好吗?你肯定有一些爱好的吧。你总会说自己在忙什么, 你肯定有自己喜欢做的事情。你的爱好是什么?网球?烹饪?还是?还是你有收藏作品的爱好? 

A: 匪夷所思,我真搞不懂。
B: 我从没收藏过什么,但一般有爱好的人都会收藏一些东西。那对你不是很好吗? 你应该收藏点什么。我觉得你可以收藏......嗯,我不知道,但你应该自己可以想 想明白。你并不蠢,对吧? 

A: Unbelievable, I don’t get it. Hey, tell me, why do you do nothing? 
B: Fuck off, no really I mean it, fuck off. Just shut up. 

A: Well, why you do nothing? All day long you are so unoccupied.
B: I know what I am doing and you please don’t interfear. Just fuck off. 

A: Tell me, don’t you ask yourself why you are always just doing nothing?
B: Holy shit, I can’t believe that the only thing you are dealing with is what I am dealing with. 

A: Don’t you feel the pressure to do something? Anything? You are just doing bullshit all day long, no, actually not even bullshit, you are just doing nothing.
B: Take care of your own bullshit. Do I interfear in your stuff? do I tell you what to do? Do I ask you why you do it? No, you see? 

A: Unbelievable! I don’t get.
B: Just do something else. Turn around! It is annoying, you always look my way. I feel observed. I cannot do anything private. 

A: I am sorry but I don’t get it... how…?
B: Why don’t you drink a cup of tea, it will make you calm down. Maybe it is best if yoy have two cups of tea. Or just call someone you didn’t talk to for long, that’s what people do. They call someone and ask: how are you? What are you doing? Geez, just call someone. 

A: I just don’t get it.
B: Occupy yourself with something but not with what I am doing. I am occupied with what I am occupied with and you please don’t occupy yourself with what I am doing! 

A: That is just boring. Are you not bored doing nothing?
B: I am doing something, you just don’t know about it. I don’t tell everybody and expecially not you what I am doing. That’s why you cannot know if I am doing nothing because I am not telling you. 

A: I mean, it must be awfully boring to do nothing.
B: Don’t you have hobbies? You must have some hobies. You are always talking about being occupied with something. You must love doing something. What are your hobbies? Tennis? Cooking? Or...? What do I know...Are you collecting something? 

A: Unbelievable, I don’t get it.
B: I don’t collect nothing, but usually people who have hobbies also collect something. Wouldn’t it be perfect for you? You should start collecting something. Let me see... maybe you can collect... well, I don’t know, but you will come up with something good. You are not stupid, are you? 

卡特琳·比约卡生于1984年意大利罗马,大学主修政治学。毕业后搬到德国杜塞尔多夫,在杜塞尔多夫艺术大学师从乔治·赫罗尔德,获得美术学士和硕士学位。她的艺术聚焦于人类关于欢乐的概念,以及个人如何看待艺术所处的滑稽、低技术状态。她参与到众多国际展览。目前驻留于荷兰阿姆斯特丹帝国美术学院。 

Catherine Biocca was born 1984 in Rome (Italy) where she studied political sciences. After her BA she moved to D sseldorf (Germany) where she joined the class of Georg Herold at the Kunstakademie and got her BA and MA in fine arts. Her practice focuses on the relation between the notion of Schadenfreude and individual perception as well as the swapping of dimensions and its reverberation onto the consideration of an art work in a formally low-fi and droll way. She participated in various national and international group and solo shows in galleries and institutions. Currently she is a resident at the Rijksakademie in Amsterdam (the Netherlands). 

卡特琳·比约卡 
马克思·保沃, 2016 

在她的作品中,卡特琳·比约卡利用戏仿和低保真度的格式,呈现卡通意象、科幻元素以及人类文化历史演进中出现的暴力行为。她直接的视觉语言总是和声音元素相结合,有着荒谬的体验时长,从而开始意识和质疑人如何接受暴力作为一种娱乐,以及幸灾乐祸的行为是如何产生的。 

这种荒诞不经的合成体和仿体呈现出纠缠的特质,虽然它的外在形式看来滑稽,却将人带入非常关键和逻辑的阶段。卡特琳·比约卡使观众反思自我直观面对其所造成的幸灾乐祸本身。 

卡特琳·比约卡的创作总是围绕着渴望重塑对人有净化作用的场景,就像古时候人们总是会聚集在广场观看犯人被吊丝或斩首,那是一种带有满足偷窥欲,但被社会允许甚至鼓励的行为。而透过这种体验产生的净化作用往往就是卡特琳·比约卡艺术创作的起点。 

她的研究范围包罗万象,从收集化石、死鸟尸体从而重塑恐龙的原型,假设它们在百万年前已经绝种的事实并未出现;她将日本卡通样式的暴力与日本幼儿园和学校的教育方向做对比;或是在纳粹集中营内朗读关于16世纪初审判制度的史料;以及透过参观医院内的太平间或地下墓穴,分析人类历史中出现过的致命病毒。 

比约卡的作品注重暴力和关怀行为之间的瞬间转换(以及从更宽的角度去看待其 与生死二元性之间的关系),以及转换是如何影响人做出的本能反应。 

一座数字公寓的美学形态和一个视觉上简易如动画的媒介被搓揉和转化成了一个真人等大的三维装置,呈现在观众面前,观众成了动画内的动态部分(触发部分)。 目的是让观众进入动画的世界,使观众“动”起来,将他 / 她的肉身带入这个虚构的世界。 

这种现实和维度的颠倒,其实在结构和效果上与轻描淡写地推翻一个司法审判或取消追捕一样:这个触发面说明了 X(= 合理)同时也可以看作是 Y(= 不合理)。 

延续这一方向,一部动画跳出电视屏幕,转而成为一个真人等大的场域装置,在主题上与一场重复闹剧的方式相吻合,其中的核心都带着残忍和自损的恶意快乐和满足。这都属于娱乐的概念,不管它是以像卡通一般暴力的动画出现,还是充满求知欲和好奇心去见证某人自身或社会上出现的失败。 

装置《与四维相会》是根据卡特琳·比约卡在 2014 年创作的一部卡通《与一维相会》延伸的实体作品。它是一座真人等大的装置,观众可以从装置中走过,仿如置身其中。这是对之前单屏幕动画作品做出的比较理想和正式的延伸,从而在物件和观众之间产生身体接触和互动。 

具体的动画元素来自喷绘印刷后面的两个屏幕,它们一直在显示着对话人物正在移动的嘴。至于背景,比约卡使用了来自意大利艺术家乔托在斯克罗维尼教堂内的壁画:那些富有卡通感的静物照片充分体现了这批文艺复兴之前的作品的漫画化与动画相结合的魅力。 

《与四维相会》属于比约卡近期的系列作品之一,在这批作品中比约卡结合不同层次的维度,颠倒和置换她常用的多元媒介,从而产生这一陌生的舞台:一种结合动画 / 移动元素,使观众能够同时体验到二维和三维元素的转化瞬间。 

Catherine Biocca
Max Power 2016 

In her work Catherine Biocca layers cartoon imagery, science fiction and human brutality throughout culture/history using a parodistic and low-fi format. Her direct visual language often in combination with audio elements stretches, from reaching the moment of recognition to absurd lengths questioning why we accept violence as a form of entertainment and how the behaviour de ned as Schadenfreude is generated. 

This grotesque synthesis and imitation brings on a frustrated substance, which is shifted up to a very essential and logical stage, even though it results in being funny on the surface. She triggers the viewer to rethink this relation and confronts him with his own evoked Schadenfreude. 

The desire to re-create a situation that is longed for as sort of catharsis, just like the voyeuristic yet socially accepted and even encouraged gaze of the public around the hanged or decapitated in the main square in the past centuries, is often the starting point of her artistical practice. 

Her research expands from collecting fossils, dead birds or trying to rebuild dinosaurs, pretending their extinction millions of years ago never happened, to confronting the amusing brutality of Japanese cartoons with the educational guidelines taught in kindergarden and school, visiting concentration camps and reading about inquisitorial practices of the early 16th century, analyzing the deadliest diseases throughout human history, visiting morgues in hositals or cathacombes. 

Biocca’s work builds up around the fascination for the fast transaction between violent and caring behaviour ( as well as in a broader way looking at this relation referring to the duality of life and death) and how this transaction influences the human way to react. 

Formally the digital aesthetics of a flat and a visually rather easy-to-grasp medium such as animation are twisted and transformed into a life-size three-dimensional installation revolving around the viewer, positioning her/him as an active part of the animation itself: the intent of transposing the viewer into the animation, so as to animate the viewer, physically placing her/ him into a made-up world. 

This reversal of realities and dimensions has in fact the same structure and similar effects as the harmless and almost amusing overturning of a topic such as a juridical trial or a chase: the triggering facet of demonstrating that X (= sense) can also be and look like Y (= nonsense). 

Following this direction the reversal of an animation taken away from the usual TV screen and transformed into a human--scale walk-through installation matches the theme of a reiterated slap-stick element, which is notoriously taken from an absurd and funny entertainment mechanism, but at the core the only thing that remains is a brutal and self-harming attempt of malicious joyful satisfaction: it is part of the notion of entertainment, in form of a brutal cartoon- like animation or an inquisitive and curious desire to attend someone else’s physical or social failure. 

The installation MEETING 4D is a spacial adaptation of MEETING 1, a previous animation made by Catherine Biocca in 2014. This translation of MEETING 1 in a life-size scale installation gives the spectator the possibility to actually walk through the represented animation as if he was part of it. It is an ideal and formal upgrade for the animation as such, which is transformed into a physical engagement between object and viewer. The actual animated elements are two screens positioned behind the PVC print showing the moving mouths of the figures in dialogue. As setting Biocca used a completely remastered view of the Giotto frescos in the Scrovegni chapel: the boost to cartoon-like stills reveals the undeniable animation and movement potential of the immobilized pre-renaissance gures. 

MEETING 4D is part of a recent series of works in which Biocca merges different levels of dimensions, reversing and swapping the diverse media she uses to generate an unfamiliar stage: a mix of animation/movement components, bidimensional and tridimensional elements perceived inevitabely as a whole by the viewer. 
 

伊夫·内茨哈默 Yves Netzhammer

伊夫·内茨哈默 Yves Netzhammer

David O’Reilly 大卫·奥锐利

David O’Reilly 大卫·奥锐利