…..藏在服装商标里的秘密
27 一月 2019

 

  

白灼影像荣幸宣布将于2018年10月12日至19日期间,呈现新西兰视觉艺术家艾米莉·哈特利-斯库德(Emily Hartley-Skudder)个展,并于10月12日下午6时举行展览开幕式。

B-JOY IMAGE is honored to announce an up-coming solo exhibition of Emily Hartley-Skudder. Hartley-Skudder is a visual artist from New Zealand. The exhibition will last from the 12th to 19thof October, with an opening ceremony on the 12th, Oct., at 6pm.

 

哈特利-斯库德从收集的日常物品中寻找创作灵感。仿真微缩模型、玩具、塑料容器等,她称这些流水线上制造的量产之物为“人造现实”,而她深为此着迷。借鉴古典“静物”油画手法,她用收集来的物品布置不同场景,拍摄,作画,并将摄影和油画作品融入她的装置创作中。

Fascinated with the ‘artificial ordinary’, Hartley-Skudder’s art practice involves collecting commonly found objects such as mass-produced miniatures, toys and plastic containers. These are assembled and photographed as ‘still lifes’, and often made into oil paintings. Hartley-Skudder’s photographs and paintings are frequently integrated into installations.

 

 

关于展览:

ABOUT THE EXHIBITION:

 

白灼:可以请你分享一下此次展览的创作理念吗?

Can you share some of your initial ideas that lead to the conception of‘MISS’?

 

艾米莉:我经常将在日常生活中收集到的物件作为摄影、绘画及装置创作的原始素材,这让我想起了自己也有收集复古衣物的喜好。随着我日常着装的颜色和图案与我的作品越来越融合,我开始思考如何利用这些复古衣物进行创作。我对这些衣物的老式商标非常着迷,特别是商标上的复古字体,以及经常将女性的名字用作品牌。例如,其中一幅照片的商标上写着“窈窕淑女”,一幅是“唐纳小姐”,另一幅则是“秀色可餐”,这个词经常用来形容女生很美。还有一幅是“杰威尔的甜心”,似乎穿着这件衣服的人是“杰威尔”的女朋友,而“甜心”这个词则带有调侃意味。这些商标的名字不仅幽默,同时也影射了某种权力。

I’ve often thought about how my process of collecting found objects as source material for my photographs, paintings and installations, also mirror how I collect vintage outfits. The colors and patterns that I wear everyday have increasingly merged with my work. It seemed an obvious step for them to become the artwork. I was always fascinated with the old fashioned labels: the retro typefaces and the women’s names as the brands. For example, one label reads ‘Slender Miss’, another reads ‘Miss Donna’. One label reads ‘Eyeful’, which is a term used in a sentence like: “Get an eyeful of her!” Another label reads ‘Jerell’s Sweetheart’, reducing the wearer of the garment down to the girlfriend of ‘Jerell’. ‘Sweetheart’ is often seen as patronizing as well. I find humor but also potency in how these garments have been named.

 

此次展览的英文名称“小姐”源于我在新西兰和纽约的生活经历。在新西兰和纽约,“小姐”是对未婚女性或女性的常用称呼,但这个词非常令人厌恶。它向我们展示了现实的荒谬,对女性的称呼居然和她们的婚姻状况有关。而将展览的中文名定为“姑娘/小姐/美女/妹子”是为了让大家注意到,语言中对女性的物化和形象固化竟是如此普遍而随意。

I’ve used ‘Miss’ to title this exhibition because to me it has become a nauseatingly generic name to address a girl or woman in New Zealand and America. I hate being called ‘Miss’ and think it is absurd for a title to suggest that a woman’s marital status is relevant. The different translations of ‘Miss’ in Chinese add a fascinating component to this exhibition, further exemplifying how easily language can generalize and objectify women and girls.

 

白灼:复古时尚为何如此吸引你?

What is it about retro fashion that compels you?

 

艾米莉:我很喜欢复古的颜色、图案与独特的风格,以及不会褪色和起皱的涤纶面料。它们让我想起新西兰曾经有过一段不那么“保守”的时尚历史。如今在新西兰,大家要么穿黑色,要么就是很不显眼的颜色。而上个世纪60至80年代,虽然时尚界不那么“保守”,但就公民权利而言,其他文化领域却呈现出与之相反的保守趋势。

I love the colors, the patterns and the different styles of retro fashion. I love how polyester doesn’t fade or crease. They hark back to a less ‘conservative’ time when it came to colors and outfits in New Zealand. Now, people are more reserved with color and wear muted tones and blacks. This less ‘conservative’time in fashion in the 1960-80’s is a contradiction to how conservative other aspects of culture were back then, in terms of people’s rights.

 

白灼:在你看来,此次展览是否也反应了一种艺术家的在场?因为这些镜头下的衣物都是你的私人衣物,而不只是被拍你下来的物体。

Have you considered the presence of you in these works? They are your clothes that you actually wear rather than just a series of ‘objects’ you are investigating.

艾米莉:此次展览确实有一层隐含的自传色彩。拍摄自己的私人衣物并将作品公开呈现,这种方式打破了私人与公共、生活与艺术的界限。在我的作品中,经常可以看见我的私人物品,例如将它们作为摄影、绘画中的背景和配色参考,但此次展览是这些私人物品首次来到台前成为主角。当我们每天穿上不同的衣服,这些衣服似乎也让我们变得不同,我很好奇这些变化是怎么发生的。于是,我将这些衣物当作不同的角色(每件衣物都有一个女性化的名字),每个角色都反映了社会对于女性的不同成见,无论是过去还是现在。当我穿上这些衣服的时候,我时常想象自己似乎在消除那段性别歧视的历史所赋予它们的属性。

There is definitely an underlying autobiographical aspect to the exhibition. The use of these garments suggests the merging of private and public, and of life and art. I’ve been using personal items in my work for years – including them in photographs and paintings as backdrops and colour schemes – but this is the first time that they have taken the forefront. I sometimes think about how we all put on a costume each day and become a slightly different version of ourselves. So, I’m thinking of each of these garments as different characters (each with their feminized names), which reflect the different prescriptions placed on women historically and now. I’d like to think that perhaps when I wear them, I’m reclaiming these dresses from a more sexist period in time.

我特地为此次展览的线上展网页设置了背景音乐,由上个世纪60年代女子组合Shangri-Las翻唱的一首名为《哭泣的他》歌,改编自男子组合Jay and the Americans的《哭泣的她》,这首歌讲述了分手时面对哭泣中的女友,男生的幸灾乐祸。我认为Shangri-Las的翻唱是女权主义者的平反。

The song that plays during the online exhibition is also suggestive of this: ‘He Cried’ is a song by the 1960’s girl group TheShangri-Las. It is a cover of ‘She Cried’, which gloats about breaking up with a woman, originally sung by Jay and the Americans. I see the The Shangri-Las version of the song as a feminist reclamation.

 

白灼:你认为作品的语境会因为展览落地到中国而发生改变吗?

How do you think the context of the work will shift when it is exhibited in China?

 

艾米莉:我很期待看到中国观众对于作品的反应。展览的英文名称反映了西方文化如何给女性贴标签,而当我们试着将其翻译成中文时,发现了中国文化中对女性的不同标签定义,这也为展览增加了新的含义和解读,代表一种全球化语境下的女性经验。同时,此次展览作品中拍摄的衣物多数为上个世纪60年代新西兰本土制造的,现在已经很少见了,因为许多服装厂都转移到了亚洲,特别是中国。我认为这些衣服商标上的“新西兰制造”可以强化这种新西兰-中国关系。同时,我在厦门驻地过程中也注意到人们的服装上有很多英文,而特定商品在市场营销过程中也会被强调其西方属性。

It will be fascinating to see how a Chinese audience will read the work, especially because the project examines the titling of women in Western Culture. I feel the work has already gained new depth and meaning because of this shift in context and it will draw attention to the universal aspects of women’s experiences. It will emphasize that most of the garments were ‘Made in New Zealand’ during the 1960’s when many things were still produced in NZ. It is now very uncommon for clothing to be made in New Zealand, and most clothing is now outsourced to places in Asia, especially China. I think the presence of ‘Made in New Zealand’ on the labels will highlight this NZ/China connection. It may also be suggestive of the English text that appears on so much clothing over here and the Western influence when it comes to marketing certain products in China.

 

白灼:听说你在申请惠灵顿亚洲驻地交换项目时提交的方案是收集厦门海岸被冲刷上来的工业废品,并与厦门世界第三大油画生产基地合作,挑选7位画师,以这些工业废品为对象,制作行画。同时,你也会画一版。现在你已经来到厦门了,这个方案还会按原计划执行吗?

The plan you submitted to WARE is that you are going to collect objects washing up on the coast of Xiamen, cooperating with seven selected artists from world’s third largest oil painting production base in Xiamen, and mass-producing the mass-produced objects as paintings. Then, you will paint the objects too. Is it plan still on the track after arriving?

 

艾米莉:这个计划正在执行中,并且最终会以个展的形式在中国欧洲艺术中心(厦门)呈现,展览现定于11月10号开幕,欢迎大家来参加当天下午5时举行的开幕式。

Yes, I’m working on it! On 10th, Nov. it will come out as an exhibition in CEAC. Everyone interested is welcome to the opening ceremony at 5pm.

 

在中国欧洲艺术中心的展览将会呈现8个系列64幅小型油画作品,这8个系列由8位艺术家根据我拍摄的8个场景的照片完成。展览现场,我会在这些油画作品外部包裹上塑料进行展示。这个项目延续了我此前创作中对消费主义、真实性、复制品以及认知价值的思考。在厦门的旅居、创作和展览经验让我可以了解在中国人们是如何看待油画这一创作媒材以及它与其他艺术形式的区别。我希望可以通过我的创作引发思考,进而不断挑战个人固有的创作模式,同时,引起大众对于艺术家如何在艺术世界的商业与非商业地带之间周旋的关注。

The resulting series will be 8 paintings by 8 artists painted from 8 photographs. In other words: 64 small paintings, which I plan to display in plastic packaging. Through this project, I hope to address ongoing ideas around consumerism, authenticity, reproduction and perceived value within art. By traveling to Xiamen, creating and presenting the work here, I can explore the opinions surrounding the medium of oil painting in China and how it is perceived against other art forms. I hope to raise questions around my own value as an artist and challenge my personal approach, while drawing attention to how artists negotiate the commercial and non-commercial realms of the art world.

 

白灼:来到厦门之后,你还在继续收集物品或者复古衣物吗?当地人的穿着和时尚给你留下怎么样的印象?

Have you started collecting things or vintage clothing in Xiamen since arrival? How do you feel about local fashion?

 

艾米莉:我收集了一些塑料瓶和塑料盒,这些都是我在厦门海滩上捡到的,我把它们做成了8个布景,拍成了8幅摄影。虽然采用的是静物摄影的方式,但我觉得它们看起来很像肖像照。与我合作的画师正在根据这些场景作画。

I have collected plastic bottles and containers from the coast of Xiamen and have made 8 photographs of them. They are ‘still life’ images but they look like portraits in some ways. The artists from the oil painting base are painting from these photographs.

 

在很小的时候,我就开始收集小玩具。随着年龄增长,收集范围也不断扩大。这让我开始思考,为什么人们,包括我自己,会对这些东西感兴趣。进入美术系后,我开始形成了“收集-布景-拍摄-绘画”的创作方式。我希望当人们凝视我精心描绘的日常物品时,可以体会到一种抽离现实的虚幻感。我很好奇中国观众会怎么看我的作品。

I have been collecting miniatures and toys since childhood. This collecting activity has expanded over the years. It is fascinating why people, including me, like to collect. After I entered into university, I developed a process of collecting, assembling, photographing and then painting. I wanted to capture the uncanny feeling of looking at something fairly ordinary and then realizing it is actually fake.

 

我很喜欢当地人的穿着。很多人的着装非常优雅、色彩丰富、女性化。我看到很多漂亮的长裙,以及可爱的情侣装。在新西兰,人们的穿着通常都是黑色,或者比较暗的颜色,所以我经常觉得自己在人群中很突兀,因为我的衣服都是以前的老衣服,颜色艳丽。自从来到厦门后,我觉得自己完全融入了这儿的环境。当地人的服装颜色都很鲜亮,比如男生甚至会穿粉色的衣服,而在新西兰,如果男生这么穿的话就会被认为很“女气”。在中国,颜色与性别的关系似乎没有那么强。我觉得现在的中国就像上个世纪60至80年代的新西兰,那时人们的服装和家居陈设的颜色都很明亮,这些颜色是怎么消失的,颜色的变化又是如何反应了社会的变化。我在厦门的经历为此次展览增加了另一层色彩。

I have really enjoyed seeing the fashion in Xiamen. A lot of the clothing is very elegant, colourful and feminine. I have seen many beautiful flowing skirts and couples wearing cute matching outfits. In New Zealand, people usually wear black, plain or dark colors. My clothing is vintage with bright colours, so I seem to stand out from the crowd. I found myself fitting in very well here in Xiamen since bright and pastel colors are very common. I have noticed boys and men dare to wear pink here, which is uncommon in New Zealand because it is often seen as ‘too girly‘. I think colours are perhaps less gendered in China. China is almost like New Zealand in 1960-80s when people embraced colour. I can’t help questioning how these colours have disappeared and how this change in clothing and home decoration reflects social change in some way. My experience in Xiamen adds another layer to the imagery in the exhibition ‘Miss’.

关于艺术家:

ABOUT THE ARTIST:

艾米莉·哈特利-斯库德(生于1988年,新西兰),视觉艺术家,现于厦门中国欧洲艺术中心进行为期3个月的驻地创作。哈特利-斯库德曾就读于新西兰坎特伯雷大学伊拉姆学院美术专业,并于2012年取得学士学位(优秀毕业生)。其作品于新西兰各地举办个展或参与群展,如乔纳森·斯玛特画廊(克赖斯特彻奇)、{Suite}画廊(惠灵顿)、黑斯廷斯城市艺术空间、2016奥克兰艺博会个人展位等,并与克赖斯特彻奇艺术空间合作完成其个人户外空间项目。此外,哈特利-斯库德在世界范围内多次受邀参展,如日本仙台、澳大利亚墨尔本,以及美国纽约。

Emily Hartley-Skudder (born 1988, NZ) is a visual artist currently staying for 3 months at CEAC in Xiamen. In 2012, the artist graduated with a Bachelor of Fine Arts (First Class Honours) from Ilam School of Fine Arts, University of Canterbury, Christchurch, New Zealand. She has exhibited in numerous solo and group exhibitions throughout New Zealand including at Jonathan Smart Gallery, Christchurch, {Suite} Gallery, Wellington, Hastings City Art Gallery, a solo booth at the Auckland Art Fair 2016 and a solo project with Christchurch Art Gallery’s Outer Spaces programme. Hartley-Skudder has also participated in exhibitions in Sendai, Japan; Melbourne, Australia; and multiple exhibitions in New York City, USA.

 

哈特利-斯库德来自新西兰首都惠灵顿,而惠灵顿早于1987年便与厦门缔结为姐妹城市。惠灵顿亚洲驻地交换项目(WARE)是由惠灵顿城市委员会以及亚洲新西兰基金会发起的艺术家驻地项目。该项目包含驻地与交换两大版块,每个版块每年各选择一位支助艺术家,即每年邀请一位来自亚洲的艺术家访问惠灵顿,并选派一名惠灵顿艺术家赴中国厦门或北京驻地创作。

Hartley-Skudder is from Wellington, New Zealand, which is a Sister City of Xiamen. Wellington Asia Residency Exchange (WARE) is an artist-in-residence program run by Wellington City Council and the Asia New Zealand Foundation. It has two facets–residency and exchange. WARE supports one residency and one exchange each year: one artist from Asia will visit Wellington, and one Wellington artist will go to either Xiamen or Beijing in China.

艺术家网站:www.emilyhartleyskudder.com

对谈/翻译: 张芳

编辑: 剑雄

校正: 张芳/Emily/巧倩