Featured artists: Johann Arens (DE), Stefan Sulzer (CH)
Guest curator: Snejana Krasteva (BG)
时间：2010年5月14日 - 15日 -午夜；2010年5月16日，上午10时 - 下午6时
2010.05.14－15, 10:00 – 24:00
2010.05.16, 10:00 – 18:00
Since its founding in 2008, Arrow Factory has functioned as an alternative outlet for contemporary art production in Beijing. Located in a hutong alleyway far away from the city’s frequented art districts, it occupies a former vegetable stand of a modest size (15sqm). In its storefront space Arrow Factory presents works that are provisional in nature, highly contingent upon the immediate local environment and that form meaningful responses to the diverse economic, political and social conditions of a given locality and everyday lived experiences.
Following this line of thinking, Arrow Factory has decided to outsource to local assets for its participation in No Soul For Sale by inviting a curator and artists that live and work in London. Based solely on remote knowledge of Arrow Factory’s actual site, this collaboration triggered Stefan Sulzer and Johann Arens to imagine and utilize the real footprint of Arrow Factory, delineating the fictional (for them) space of the gallery within the No Soul For Sale “booth” and allowing a remaindered or externalized space to become visible. Within this newly created area, the artists present individual works that are, in turn, a complex and challenging exercise in “delineation.”
The work by Stefan Sulzer, shown here for the first time, has a particular unplanned resonance with No Soul For Sale’s own title. Forming an answer to an unposed question, the words “I HAVE NOT ONLY SACRIFICED MY SOUL FOR THIS BUT MY TIME” stand clear on the background of a pixilated enlarged print of a sunset. This background picture has almost become a contemporary metaphor for the transcendental self: lost, traded, saved, sacrificed, burned, sold…this “soul” seems susceptible to all of life’s vicissitudes. One’s soul remains an unquantifiable measure, unlike the concept of time, which has been tamed and recorded in measures as small as a nanosecond. However, through this statement it seems that the two concepts become somehow comparable; even more, the latter is deemed more valuable. What are they sacrificed for exactly? And if we inverse the roles the question could be: what is the material or immaterial value of an artwork? Sulzer is very much interested in unpacking and deconstructing commonly accepted narratives, facts, concepts, memories or truths. And he does this through his own provocative, witty scenarios executed with aesthetically simple gestures.
Johann Arens’ new video is a two-channel projection that intentionally disrupts and intervenes with the viewing process. A small monitor positioned in front of a bigger projection creates a visual metaphor in which the smaller screen appears to have been organically severed from its larger counterpart. The two screens simultaneously alternate in showing apparently incongruous scenes of exteriors/interiors. The impossibility of following both of the screens at the same time accentuates the physical limitations of grasping a reality that is both internalized and exteriorized. These images are accompanied by a soundtrack of ambient sounds of people walking through an interior space, giving the impression of an inhabited, animated place when in reality all that is seen is the static paraphernalia of domestic life: sofas, patterns, and plants. A complex but stylized investigation in forms, structures and processes of viewing and role-attributing, this work is a continuation of Arens’s interests in methods of cinematographic expression and viewing practices.
目前在英国伦敦金史密斯学院攻读硕士学位。他最近的展览包括：《突现》，荷兰阿姆斯特丹Meneer de Wit（2009年）；《FRàGIL》，法国巴约讷Carré Bonnat（2009年）；《与欢乐订约》，意大利罗马Rialto Santambrogio（2007年）。未来展览包括在伦敦和利物浦举办的《2010年新生当代人》。
Stefan Sulzer (b.1978, Switzerland)
Currently pursuing a master’s degree at Goldsmith College in London, UK. Recent exhibitions include: Requiem aeternam, Institut Furkablick, Furka Passhöhe, Switzerland (2009); Werk- und Atelierstipendien der Stadt Zürich, Helmhaus, Zürich, Switzerland (2009); Nahrung, Shedhalle, Zürich, Switzerland (2009). Future shows this year include The Reading Room at Duplex Sarajevo; Word Works at Van Horbourg, Basel and The Eighteenth Emergency at Core Gallery London.
a contemporary art gallery located in Beijing and worked as assistant curator at Ullens Center for Contemporary Arts before moving to UK.
Johann Arens (b. 1981, Germany)
Currently pursuing a master’s degree at Goldsmiths College in London, UK. Recent exhibitions include: Pop Up, Meneer de Wit, Amsterdam, Netherlands (2009); FRàGIL, Carré Bonnat, Bayonne, France (2009); A pact with Joy’, Rialto Santambrogio, Rome, Italy (2007). Plans for the future include the exhibition New Contemporaries 2010 in London and Liverpool this autumn.
Snejana Krasteva (b.1979, Bulgaria)
Independent curator currently pursuing a master’s degree in Curating at Goldsmiths College in London, UK. For the past five years she has been based in China, where she ran a contemporary art gallery located in Beijing and worked as assistant curator at Ullens Center for Contemporary Arts before moving to UK.
OFFICAL PRESS RELEASE:
Go to the No Soul For Sale website
|31 March 2010
Press Release No Soul For Sale – A Festival of Independents
Tate Modern, Turbine Hall
14 and 15 May 2010, 10:00 – Midnight
16 May 2010 10:00 – 18:00
For public information number please print 020 7887 8888
To celebrate Tate Modern’s 10th anniversary, the gallery will host No Soul For Sale – A Festival of Independents. For this free arts festival, Tate Modern is inviting over 70 of the world’s most innovative independent art spaces, not-for-profit organizations and artists’ collectives, from Shanghai to Rio de Janeiro, to take over the Turbine Hall. The festival will fill the iconic Turbine Hall space with an eclectic mix of cutting-edge arts events, performances, music and film on 14-16 May 2010. The gallery will stay open until midnight on Friday 14 and Saturday 15 May for late night events with special guests to be announced very soon. Tate Modern first opened on 12 May 2000 and over 45 million visitors have passed through the gallery’s doors since.
To stage No Soul For Sale, Tate Modern is working in collaboration with artist Maurizio Cattelan and curators Cecilia Alemani and Massimiliano Gioni. The festival will bring together some of the most exciting and experimental new art from around the globe, displayed in an unconventional, do-it-yourself style. Ranging from monumental structures to witty interventions, epic performances to interactive installations, participants will exhibit alongside each other without partitions or walls, creating a pop-up village of global art for visitors to explore.
The organisations taking part will respond to the invitation with a range of unique projects, building on the participatory spirit of previous Turbine Hall commissions. White Columns (New York) will work with Sonic Youth-musician, Thurston Moore, to launch the new issue of his Ecstatic Peace Poetry Journal. Publishing poetry by individuals who intersect the worlds of poetry, music and art, the journal will be printed on paper designed to fly as a kite in the Turbine Hall. Meanwhile, Barcelona-based duo Latitudes will collaborate with Spanish artist Martí Anson, who will set up a taxi firm and drive the pair from Barcelona to London and back, designing the vehicle, chauffeur’s uniform and route.
Elsewhere in the space, Kling & Bang gallery (Reykjavík) will dangle a large-scale column of cash register rolls from the 40-metre high ceiling of the Turbine Hall, creating an interior space filled with video projections. Hailing from New York, K48 Kontinuum will make their stamp on the Turbine Hall with a giant photo of a slice of pizza plastered to the floor. Arthub Asia (Shanghai/Bangkok/Beijing) will add to the playful, anarchic atmosphere of the festival with work from artist Zhou Xiaohu, who will translate the gallery’s signs into Chinese. A number of UK-based organisations will take place including Museum of Everything (London), Auto Italia (London) and The Royal Standard (Liverpool).
The festival will bring together a number of cutting-edge contemporary film and video organisations including Light Industry (New York), Centre Cinématèque de Tanger (Tangier), and no.w.here (London), who will devise programmes of screenings and collaborations with video artists. It will also invite art-related publications such as e-flux (Berlin), who will set up a production space that allows visitors to act as publisher. All participants will host a live event of their choice on the dedicated performance space on the Turbine Hall bridge, ranging from talks and screenings to performances.
Notes to editors
The first edition of No Soul For Sale – A Festival of Independents was spearheaded by Cecilia Alemani, Maurizio Cattelan, and Massimiliano Gioni, and took place in June 2009 at X initiative in the former Dia Center for the Arts in New York. The idea for the festival was devised to celebrate and foster a spirit of independence and diversity in the art world.
As part of No Soul for Sale, Tate Modern is opening late on the 14 and 15 May 2010, tying-in with the nationwide project Museums at Night. Museums at Night is the annual after-hours celebration of UK culture, history and heritage that sees museums and galleries all over the UK staying open late and putting on special events to get people to do something different with their evening – and enjoy the history and heritage on their doorstep.
Independent arts organisations taking part in No Soul For Sale include:
Alternative Space LOOP (Seoul), Arrow Factory (Beijing), Arthub Asia (Shanghai/Bangkok/Beijing), Artis - Contemporary Israeli Art Fund (New York / Tel Aviv), Artspeak (Vancouver), Artists Space (New York), Auto Italia (London), Ballroom (Marfa), Black Dogs (Leeds), Barbur (Jerusalem), Capacete Entertainment (Rio de Janeiro), Casas Tres Patios (Medellín), Centre Cinématèque de Tanger (Tangier), Cinema Project (Portland), cneai= (Paris-Chatou), Collective Parasol (Kyoto), Dispatch (New York), e-flux (Berlin), Elodie Royer and Yoann Gourmel - 220 jours (Paris), Embassy (Edinburgh), Exyzt & Coloco (Paris), Filipa Oliveira + Miguel Amado (Lisbon), FLUXspace (Philadelphia), FormContent (London), Galerie im Regierungsviertel/Forgotten Bar Project (Berlin), Green Papaya Art Projects (Manila), Hell Gallery (Melbourne), Hermes und der Pfau (Stuttgart), i-cabin (London), Intoart (London), K48 Kontinuum (New York), Kling & Bang (Reykjavík), L'appartement 22 (Rabat), Latitudes (Barcelona), Le Commissariat (Paris), Le Dictateur (Milan), Light Industry (New York), Lucie Fontaine (Milan), lugar a dudas (Cali), Machine Project (Los Angeles), Mousse (Milan), Museum of Everything (London), Next Visit (Berlin), New Jerseyy (Basel), Not An Alternative (New York), no.w.here (London), Oregon Painting Society (Portland), Or Gallery (Vancouver), P-10/Post Museum (Singapore), Para/Site Art Space (Hong Kong), Peep-Hole (Milan), PiST (Istanbul), PSL [Project Space Leeds] (Leeds), Rhizome (New York), Salamanca (Jerusalem), San Art (Ho Chi Minh City), Studio 1.1 (Liverpool), Suburban (Chicago), Swiss Institute (New York), The Mountain School of Arts (Los Angeles), The Royal Standard (Liverpool), Thisisnotashop (Dublin), Torpedo - supported by the Office for Contemporary Art Norway (Oslo), Tranzit (Prague), Viafarini DOCVA (Milan), Vox Populi (Philadelphia), Western Bridge (Seattle), Western Front Society (Vancouver), White Columns (New York), Y3K (Melbourne), 2nd Cannons Publications (Los Angeles), and 98 Weeks (Beirut).