遏制疫情突发事件:实践中的远程协作和显示器重新配置

M. Lai
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引用次数: 0

摘要

在新冠肺炎疫情期间对旅行和聚会实施限制的情况下,香港的国际合作展览尝试了跨越国界和时间的策展。本文探讨了香港艺术机构最近的策展实践,特别是与特定场地的装置和表演有关的,这些装置和表演必须应对艺术家的身体缺席和机构限制。两个特定地点的艺术委员会——谢雪莉(Shirley Tse)的《协商差异》(2020),安装在M+馆,以及艾莎·乔森(Eisa Jocson)的《动物园》(2020),表演在大馆当代馆——都是恰当的例子,说明策展实践如何实现远程协作和展示重构,以解决由于疫情而导致的装置和展览阶段作者缺席和机构干预的问题。前一个案例研究将艺术家对艺术批判性的权威控制分散到集体策展和装置过程中,而后一个案例研究则通过在展览期间积极改变展示方式,根据变化多端的制度和社会背景进行演变。尽管大流行造成了隔离和限制,但这两个案例研究揭示了策展人如何跨越距离和时间与艺术家和参与者合作,积极灵活地在特定地点的艺术品与眼前的现实之间建立响应性和相关性的联系。他们的策展实践——作为艺术调解——通过与艺术家的联合策展和联合制作,使艺术品和展览的概念框架复杂化,从而为展览制作模式和策展人作为“策展人作为艺术家”的角色提供了合作的维度。
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Curating pandemic contingencies: Remote collaboration and display reconfiguration in practice
Amid the restrictions on travelling and gathering imposed during the COVID-19 pandemic, exhibitions with international collaborations in Hong Kong experimented with curating across borders and time. This article examines recent curatorial practices in Hong Kong’s art institutions, particularly relating to site-specific installations and performances that had to cope with the artist’s physical absence and institutional restrictions. Two site-specific art commissions – Shirley Tse’s Negotiated Differences (2020), installed at the M+ Pavilion, and Eisa Jocson’s Zoo (2020), performed at Tai Kwun Contemporary – serve as cases in point illustrating how curatorial practices enabled remote collaboration and display reconfiguration to address authorial absence and institutional interventions during the installation and exhibition phases due to the pandemic. The former case study decentralized the authorial control of artistic criticality from the artist to a collective curation and installation process, while the latter evolved in accordance with protean institutional and social contexts by actively changing the display during the exhibition. Despite the pandemic-imposed separation and restrictions, these two case studies shed light on how curators collaborated with artists and participants across distance and time, actively and flexibly forging responsive and relevant connections between site-specific artworks and the immediate present. Their curatorial practices – as artistic mediation – complicated the conceptual framework of artworks and exhibitions through co-curation and co-production with artists, thus lending a collaborative dimension to the model of exhibition-making and the role of the curator as the ‘curator-as-artist’.
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来源期刊
CiteScore
0.50
自引率
25.00%
发文量
12
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