上纽ICA新展开幕 | 林从欣和Patrick Staff“两性花、汗和经血云。”作品解读

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Mon, October 5, 2020

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上纽ICA新展开幕

“两性花、汗和经血云。” 林从欣和Patrick Staff展览

展览现场：“两性花、汗和经血云。” 林从欣和Patrick Staff展览。上纽ICA，2020年9月24日 - 12月19日。摄影：洪晓乐。

开幕现场

上周四9月24日，上海纽约大学当代艺术中心（上纽ICA）继新冠肺炎疫情后首次重新开馆，带来了两位艺术家林从欣和Patrick Staff的合作艺术展览“两性花、汗和经血云。”（展期将持续至2020年12月19日）。此次展览及相关活动是为期两年的艺术研究项目“（看不⻅的）花园”系列的第三季内容。同时包括了两位艺术家的独立和合作作品，也是他们的作品首次在中国大陆展出。

“两性花、汗和经血云。”及相关活动是为期两年的艺术研究项目“（看不⻅的）花园”系列的第三季内容。“（看不⻅的）花园”系列项目通过探索花园/园林，塑造我们对自然和我们与其他物种关系的理解。

《荷尔蒙雾》

作品细节：林从欣和Patrick Staff，《荷尔蒙雾》，2020年。混合媒介装置。上纽ICA，2020年。摄影：洪晓乐。

《荷尔蒙雾》是为专为本次展览拓展的装置作品。两位艺术家通过酷儿视角解读了资料及植物学文本，从而建造了一个同时具备仪式感、空间感的工作现场。整个场地被木制结构的开放六边形（类似影响内分泌的毒素苯的分子结构）环绕，混有影响荷尔蒙的草药的雾气由改造过的雾机喷出，弥漫在整个空间里。散落在展览现场各处的还有不同种物质的或化学的变化，包括山药，甘草、当归和黑升麻的根；留兰香叶和艾叶；蛇麻花；以及各种以纸质形式呈现的由植物得来的知识，自动书写，关于种族、社会性别、生理性别和生态学的批判理论。艺术家们和其他人撰写的文字阐述着离经叛道的知识，邀请我们进行一次酷儿式的反向解读，体察我们如何已然并且不断被渗透和发生变化。

《共用杯》

展览现场：Patrick Staff，《共用杯》，2018年。不锈钢杯和链；尺寸可变。上纽ICA，2020年。摄影：洪晓乐。

Patrick Staff的雕塑作品《共用杯》是一个由金属链悬挂于天花板的杯子，形态类似19世纪英国早期的公共饮水喷泉，当时伦敦的富人们为应对水媒疾病的爆发而建造了饮水喷泉，从而阻止贫困的工人阶级酗酒。艺术家通过一件实物邀请观众一同探讨与个体和社会化的身体健康相关的阶级、种族和性别的综合问题。

《洗浴》

展览现场：Patrick Staff，《洗浴》，2018年。铝盒、水、棉质线衫和袜子；117 × 213 × 10厘米。单频道高清影像（彩色、有声）；17分11秒。上纽ICA，2020年。摄影：洪晓乐。

Patrick Staff的另一件作品，《洗浴》由一段视频作品和装有浸湿的衣服和袜子的长方形铝制金属盆组成。两部分均在两位艺术家合作的《荷尔蒙雾》六边形框架中展示。这段表演视频中，舞者的身体在醉酒狂欢和过度劳累、人与非人之间转换：踉跄、挥舞、咆哮和爬行。身体发出的声音，与滴水声和狂乱的音乐，一起在整个展厅内弥漫。

《毒物符号学》

展览现场：林从欣，《毒物符号学》，2019年。布面油画；尺寸可变。影像（单频道、彩色、有声）；22分19秒。上纽ICA，2020年9月24日 - 12月19日。摄影：洪晓乐。

林从欣的作品《毒物符号学》中，包含着六幅用铅、朱砂等有毒颜料绘制的油画，创作于黎巴嫩境内据传被化学废料污染的不同地点。在户外实地描绘这些风景时，艺术家的身体也被这些颜料所污染，与有毒的土壤、水和空气融为一体。

同时，林从欣通过视频，以她本人和病毒、真菌、毒物等其他传染物的视角，呈现了一个美学和军事化历史上关于传染的半虚构故事。随着传染物的旁白声音，大量的图像阐述着多元视角：从微生物界到人类世界，从五脏六腑到五湖四海，从指甲盖边缘到地表下数千英尺的核废料掩埋场。军事化的陆地边界和营地与古代和现代殖民主义的印象同时出现，暗指不同等级的生命、人群和地方所受的不均衡的伤害。

相关活动

与展览“两性花、汗和经血云。”相关的还有一系列活动，包括“圆月仪式：有毒的性”——由艺术家主持的于11月30日月圆之时举行的集体仪式练习，及于北京时间12月5日上午11点举行的与艺术家的线上交流会（讨论此仪式练习的经历）。

与以往一样，上纽ICA将于10月15日、11月5日和11月26日下午1点于艺术馆举办作品研习活动。建立在好奇的探索、批判性反思和对意义的集体阐释三大基础上，ICA的作品研习是一次针对某一件作品的引导性对话，每次持续一小时。须提前报名。

欲了解更多信息，请访问上纽ICA官网：ica.shanghai.nyu.edu/cn

观众须知

因新冠肺炎疫情防控需要，并根据上海纽约大学的相关指导方针，上海纽约大学当代艺术中心2020年秋季只对上海纽约大学社区开放；暂时不对公众开放，直至另行通知。

如果想要探索本次展览的更多艺术作品，我们也为公众提供了一个线上观展的机会：对本次展览感兴趣的公众，可以在上纽ICA官网，通过虚拟现实技术在线观展。

ICA Opening Highlights

STRESSED HERMS, SWEAT, & PERIOD GAS.

an exhibition by Candice Lin & Patrick Staff

Installation and detail views:STRESSED HERMS, SWEAT, & PERIOD GAS.an exhibition by Candice Lin and Patrick Staff. ICA at NYU Shanghai, 24 September - 19 December 2020. PHOTO: Hong Xiaole.

Exhibition Opening

This past Thursday (24 September), the Institute of Contemporary Arts at NYU Shanghai (ICA at NYU Shanghai) reopened its gallery space for the first time after the COVID-19 pandemic and presented an exhibition by Los Angeles-based artists Candice Lin and Patrick Staff, STRESSED HERMS, SWEAT, & PERIOD GAS. (on view through 19 December 2020). The exhibition marks the first time their collaboration will be shown on the mainland of China, and also includes individual works by each artist.

STRESSED HERMS, SWEAT, & PERIOD GAS. and its related events are presented as the third season of The (Invisible) Garden, a two-year artistic research program that inquires into the garden as a method that shapes our understanding of Nature and our relationships to other species.

Hormonal Fog

Detail View: Candice Lin and Patrick Staff,Hormonal Fog, 2020. Mixed media installation. ICA at NYU Shanghai, 2020. PHOTO: Hong Xiaole.

Hormonal Fogis an installation that has been represented and expanded for the ICA gallery. Based on their practice of reading archives and botanical texts queerly, Lin and Staff have constructed a ritual-space-cum-work-site. The entire site is surrounded by a wooden structure of an open hexagon (which resembles the shape of the endocrine-influencing toxin benzene molecule). Containing a homemade tincture of herbs that affect our hormones, a fog is generated by machines that have been hacked, and funneled into the surrounding air. Scattered about in the exhibition site are various technologies of physical and chemical transformation: yams and the roots of licorice, dong quai, and black cohosh; the leaves of spearmint and mugwort; the flowers of hops; as well as plant-derived knowledge, automatic writing, critical theories of race, gender, sex, and ecology, in printed form. Texts written by the artists and others illuminate insurgent knowledges and invite a queer counter-reading of how we are always already permeable and changing.

Common Cup

Installation View: Patrick Staff,Common Cup, 2018. Stainless steel cup and chain; variable dimensions. ICA at NYU Shanghai, 2020. PHOTO: Hong Xiaole.

The sculptureCommon Cupby Patrick Staff is a cup suspended from the ceiling on a metal chain.Common Cupreferences early public water fountains in 19th century Britain, when outbreaks of disease were tied to a lack of access to clean drinking water by the working-poor, who were also being discouraged from drinking alcohol at the time. Through a readymade object, the artist invites the viewers to begin to consider the complex intersections of class, race and gender in relation to the health of individual and social bodies.

Bathing

Installation View: Patrick Staff,Bathing, 2018. Aluminum basin, water, cotton sweater, sock; 117 × 213 × 10 cm. Video (single-channel, color, count); 17'11". ICA at NYU Shanghai, 2020. PHOTO: Hong Xiaole.

Another work by Patrick Staff,Bathingconsists of a video and an aluminum basin containing wet clothes, both of which are displayed within the hexagonal frame ofHormonal Fog, Staff’s collaboration with Candice Lin,. In the performance-based video, the dancer’s body moves between drunken revelry and overexertion, from human to non-human: stumbling, flailing, growling, and crawling. Their sounds, including the dripping of water and frenetic music, permeates throughout the gallery.

Toxic Semiotics

Installation View: Candice Lin, Toxic Semiotics, 2019. Oil on canvas; various dimensions. Video (single-channel, color, sound): 22'19". ICA at NYU Shanghai, 2020. PHOTO: Hong Xiaole.

Toxic Semiotics by Candice Lin consists of six oil paintings, as well as a video also embedded within the frame of Hormonal Fog. The paintings were composed at various sites in Lebanon rumored to have been polluted with chemical waste. Lin painted these landscapes on site and en plein air, herself tainted by pigments containing lead, cinnabar, chromium, cadmium, and cobalt; enmeshed with the poisoned land, water, and air.

Meanwhile, in the video, Lin mixes the perspectives of herself and other infectants, such as a virus, fungi, and toxicant, presenting semi-fictionalized stories about contagion, in the histories of aesthetics and militarization. As the infectants’ voices narrate, a vast array of images illustrate multiple perspectives: from the microbial to the human, as passengers across organs and oceans, both buried and emergent from the edge of a fingernail to a nuclear waste burial site thousands of feet below the earth's surface. Militarized land borders and encampments appear alongside impressions of ancient and modern colonialism, alluding to the uneven distribution of harm and hierarchy amongst orders of life, people, and places.

Related Events

STRESSED HERMS, SWEAT, & PERIOD GAS.is accompanied by related events, including Full Moon Ritual: Toxic Sex, a collective ritual exercise led by the artists during the full moon on30 November, followed by a conversation with the artists on5 December at 11:00 (China Standard Time) online.

As with every season, the ICA will host Study Sessions on15 October,5 November, and26 November at 13:00 in the ICA gallery. ICA Study Sessions are guided conversations focusing on one work in one hour, based on curious exploration, critical reflection, and collective meaning making.

Registration is required for all events. For more information, please visit the ICA website: ica.shanghai.nyu.edu.

Notice to Visitors

This Fall 2020 season, to help prevent the spread of COVID-19, and in accordance with NYU Shanghai guidelines, the ICA gallery is open to the NYU Shanghai community only and temporarily closed to the public until further notice.

To further explore the artworks, we also provide an opportunity for the general public to view the exhibition online. Those outside of the NYU Shanghai community and who are interested in the exhibition can access the online VR exhibition via the ICA website.