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奥利弗·赫林个展“我，我们，他们”现场，唐博物馆教育馆，纽约，2009
Installation view, "Oliver Herring – Me Us Them", Tang Teaching Museum, 2009
在刚落幕的纽约军械库艺博会，BANK代理艺术家奥利弗·赫林荣获了绍尔艺术家大奖（Sauer Artist Prize）。受视觉艾滋（Visual AIDS）支持，赫林于艺博会的亮相再次受到艺术界与学术界的关注，数家美国机构及美术馆收藏了他的作品。其中，唐博物馆（Tang Museum at Skidmore College）将于明年2月的大型馆藏展中，展出此前收藏的奥利弗·赫林的作品《有外套的女王床》(Queensize Bed with Coat, 1993-1994)。赫林曾于2009年在唐博物馆举办个展。
At the recently concluded Armory Show, BANK‘s artist Oliver Herring was honored with the Sauer Artist Prize. Supported by Visual AIDS, Herring's presentation at the booth has received renewed attention from the art world and academia, with several U.S. institutions and museums collecting his work. Among them, the Tang Museum at Skidmore College will present a large-scale exhibition of its collection next February, featuring Oliver Herring's Queensize Bed with Coat (1993-1994) as the center piece. Herring had a solo exhibition at the Tang Museum in 2009.
Oliver Herring's performance, BANK popup exhibition, NY, 2024Popup Exhibition in New YorkHerring as Nureyev as Nijinsky as Faun展览时间/Show Duration:
2024/09/06 - 2024/09/15 12:00-18:00（EST)
地点/Address:
纽约包厘街302号 (302 Bowery, New York)
*新增演出/Newly Added Performance*
09/12 (周四 Thur) 16:00-17:00 (EST) 09/13 (周五 Fri) 18:00-19:00 (EST)
在纽约军械库艺博会同期，BANK荣幸在包厘街302号的Patricia Field呈现表演项目“赫林作为纽瑞耶夫、尼金斯基和半人羊”（Herring as Nureyev as Nijinsky as Faun），于9月6日至15日期间展出。这是艺术家奥利弗·赫林在新冠疫情期间全新创作的个人行为表演，与相关的动态绘画和影像作品一同展出。
舞蹈家尼金斯基（Nijinsky）原创芭蕾舞剧的灵感来自古希腊、埃及和伊特鲁里亚艺术中对人物的平面描绘。从这些元素中，尼金斯基设计出了一种极具经济性和变形性的动作语言——三维人体作为二维移动的形状。赫林自学了罗马神话中半人羊（Faun）的核心行为，以此来理解疫情期间受局限的运动和社交所带来的限制和可能性。从更广泛的意义上来看，他试图在一系列激进的限制中寻求意义和自由。行为表演“赫林作为纽瑞耶夫、尼金斯基和半人羊”成型于艺术家的工作室实践，是与通过邀请或口口相传而来观看的观众们共同完成的项目。此次演出保留了工作室的形式，包括在作品结束后进行对话。对谈主持人包含Vivien Greene（所罗门古根海姆博物馆 19 世纪和 20 世纪早期艺术高级策展人），Jeannette Bisschoffs（独立策展人、研究员兼作家），Kyle Croft（视觉艾滋执行总监）。Inspiration for Nijinski’s original ballet came from flat depictions of figures in ancient Greek, Egyptian and Etruscan art. From the source material Nijinsky devised a movement language of radical economy and distortion –three-dimensional human bodies as two-dimensional moving shapes. Herring taught himself the central role of the faun as a means to make sense of the constraints and possibilities of limited movement and sociability during the COVID pandemic, and in a more general sense, in a search for meaning and freedom within a set of radical limitations. Herring as Nureyev as Nijinsky as Faun was developed in the studio with audiences who reached the performance by invitation or through word of mouth. This iteration of the performance maintains the format used in the studio, which includes conversations following the piece. Previous conversations were moderated by Vivien Greene (Senior Curator of 19th and Early 20th Century Art, Solomon Guggenheim Museum), Jeannette Bisschoffs (Independent curator, researcher, and writer), and Kyle Croft (Executive Director, Visual AIDS). 表演&展览现场
Performance and Installation View
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The Dwarf Planet That Has Been DemotedBasement, No,2, Lane 298, An Fu Rd, Shanghai
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Basement, No,2, Lane 298, An Fu Rd, ShanghaiClick to access "THE VAULT" store
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