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金杜艺术中心于2019年2月26日至4月16日呈现与伦敦白教堂美术馆首次合作的国际电影项目。这是白教堂美术馆此项目在中国大陆地区的首次合作。2019年，金杜艺术中心将作为“国际艺术家电影”（AFI）项目的参与机构之一，放映一系列以“性别”为主题的影像作品。“国际艺术家电影”关注国际重要影像作品，作品由包括金杜艺术中心在内的19家艺术机构作为全球合作伙伴共同推荐选择。每一个机构提名推荐所在地区优秀作品，在这一年中这些作品将会在全球所有合作艺术机构展映。

系列放映的前三部影片分别是由金杜艺术中心选送的中国艺术家王韬程的作品《访谈》（2017）、由瑞典斯德哥尔摩的邦尼尔美术馆选送的瑞典艺术家特蕾莎·特拉奥雷·达尔贝里的作品《大使夫人》（2017年）、以及由柏林的新柏林艺术协会选送的艺术小组姆旺吉·胡特尔的《穿越伊斯特利》（2009）。

王韬程 Evelyn Taochao Wang 

访谈 The Interview 2017

高清录像 Video HD

10′40″

©图片由艺术家，Galerie Fons Welters及Carlos / Ishikawa提供

Courtesy the artist and Galerie Fons Welters, Amsterdam 

and Carlos / Ishikawa, London.

 摄影 Photo: Gert Jan van Rooij. 

由金杜艺术中心选送

Selected by KWM artcenter, Beijing, China

基于一部剧本创作的作品《访谈》（2017）将艺术家王韬程自己的浪漫幻想、跨文化和跨性别的联想投射到在哈勒姆的弗兰斯·哈尔斯美术馆的历史性情境中。艺术家谈论东西方艺术的不同之处，这期间偶尔还会有一个“完美比例”的男人陪伴左右。这件作品强调了今天的社会如何通过过去和现在的艺术，来接受跨越文化和跨越身体身份的新认知。

作品《大使夫人》（2017）讲述的是法国大使夫人在布基纳法索的瓦加杜古舒适的日常生活。她把排练她的歌剧剧目作为她日常的一部分，尽管她很清楚地意识到她永远不会在大众面前表演，因为她的居住津贴禁止她有工作，这让她再也不可能成为歌手。这件作品表达了大使夫人被困在特权生活中的感受，歌唱变成一种隐忍和坚持她梦想的方式。

自2005年以来，英格丽德·姆旺吉（1975年出生于肯尼亚内罗毕）和罗伯特·胡特尔（1970年出生于德国路德维希港）开始以Mwangi Hutter为名创作，从而消解了各自作为艺术家的身份问题。《穿越伊斯特利》（2009）拍摄于内罗毕一个主要居住着索马里难民的小镇里几条积水的街道，在姆旺吉·胡特尔所谓的“游击行动”中，英格丽德·姆旺吉打破了社会行为的惯例，以非理性的行为面对公众。围观的人群尽最大的努力让开道路，作品试图提醒屏幕前的观众，他/她在与社会贫困保持安全距离时所采取的特权视角。

特别鸣谢：造作ZAOZUO为独家家具展览合作伙伴。

特蕾莎·特拉奥雷·达尔贝里 Theresa Traore Dahlberg

大使夫人 The Ambassador's Wife 2017

高清录像 Video HD/16:9

20′

©图片由艺术家及SVT提供

Courtesy: The artist and SVT

由瑞典斯德哥尔摩的邦尼尔美术馆选送

Selected by Bonniers Konsthall, Stockholm, Sweden

KWM artcenter is pleased to present its first collaboration with the Whitechapel Gallery, London from 26 February to 16 April 2019 and the Whitechapel's first collaboration in mainland China. Throughout 2019, KWM artcenter will be screening a series of moving image works as part of the Artists' Film International (AFI) project based on the theme of gender. AFl celebrates moving image work and is selected by a global partnership of arts organizations including KWM artcenter. Each nominates an outstanding work from their region which is screened across each venue during the year.

The first 3 selected films are Chinese artist Evelyn Taocheng Wang's The Interview(2017) selected by KWM artcenter; Swedish artist Theresa Traore Dahlberg's The Ambassador's Wife (2017) selected by Bonniers Konsthall, Stockholm, Sweden; and the art group Mwangi Hutter's Eastleigh Crossing (2009) selected by Neuer Berliner Kunstverein, Berlin. 

The Interview (2017) is based on a script in which Evelyn Taocheng Wang projects her romantic fantasies, cross-cultural and cross gender associations onto the historical context of the Frans Hals Museum in Haarlem. The artist talks about the differences between Western and Eastern art and is occasionally accompanied by a man with 'ideal proportions'. The work highlights the issues faced in today's society in accepting new understandings both of cross cultural and body identity within art from the past and from the present.

The Ambassador's Wife (2017) follows the French ambassador's wife in her comfortable everyday life in Ouagadougou, Burkina Faso. As part of her daily routine she rehearses her operatic repertoire, well aware that she will never perform for a significant audience as her residence allowance prohibits her from working, making a singer career no longer possible. The film conveys the feeling of the ambassador's wife being trapped in her privileged life and that singing is a way to endure and to hold on to her dreams.

姆旺吉·胡特尔 Mwangi Hutter

穿越伊斯特利 Eastleigh Crossing 2009

高清录像、彩色、有声 

HD film, color, sound

7′48″ 

©图片由艺术家提供

 Courtesy: the artists

由柏林的新柏林艺术协会选送

Selected by Neuer Berliner Kunstverein, Berlin. 

Since 2005, Ingrid Mwangi (*1975 in Nairobi/Kenya) and Robert Hutter (*1970 in Ludwigshafen/Germany) started signing their works as the collective individual Mwangi Hutter, thereby resolving both their identities as artists. Eastleigh Crossing, (2009) is filmed in the flooded streets of Nairobi, in a part of the town mainly inhabited by Somalian refugees. In what Mwangi Hutter calls a "Guerilla Action", Ingrid Mwangi breaks with the conventions of social conduct and confronts the public with irrational behavior. The crowd of spectators tries its best to move out of the way and the viewer of the video is reminded of the priviledged perspective he/she assumes in keeping a safe distance from social poverty.

Special Thanks: ZAOZUO is the exclusive furniture exhibition partner.

关于艺术家

About the Artists

王韬程 Evelyn Taocheng Wang

出生于成都，目前旅居荷兰的艺术家王韬程（b.1981）是一位跨性别艺术家。她于2014年毕业于德国法兰克福施泰德艺术学院(Städelschule)、2006年毕业于南京师范大学。她近期主要个展包括“传播的优雅” 法国香槟-阿登大区当代艺术基金会（2019），兰斯，法国；“SMAK的朋友”，根特，比利时（2018）；“他怕什么？”，柏林现代艺术中心，柏林，德国（2018）；“他怕什么？”，公司画廊，纽约，美国（2018）；“悲情四季”，Galerie Fons Welters，阿姆斯特丹，荷兰（2017）；“对于一个尴尬的人来说，总是很难避免尴尬的事情”，Carlos/Ishikawa，伦敦，英国（2017）；“热织褶皱”，Chateau Shatto画廊，洛杉矶，美国；“瞬间的寓言”，弗兰斯·哈尔斯博物馆，哈勒姆，荷兰（2017）；“她坐着一艘闪亮的船飞走之后的贵族生活”，行为，阿姆斯特丹市立博物馆，荷兰(2015)；“入戏/出戏”余德耀美术馆，雅加达，印度尼西亚(2013年)。她近期重要群展包括’、“更好的V”，伦敦当代艺术学院，英国伦敦(2017年)；第14届卡塞尔文献展公共项目，德国(2017年)；“道夫·亨克斯奖”，TENT美术馆，荷兰(2018年)。她的作品被荷兰伯尼芳坦博物館、美国芝加哥艺术学院、法国巴黎蓬皮杜中心、法国香槟-阿登大区当代艺术基金会和荷兰阿姆斯特丹市立博物馆等收藏。

Evelyn Taocheng Wang was born in Chengdu, China, in 1981. Now she lives and works in Rotterdam. She was graduated from HBK Städelschule, Frankfurt am Main, Germany in 2012 and Nanjing Normail University, Fine Art Department, Chinese traditional art, Chinese Classical Literature & Visual Communication in 2006. Her important solo shows include Spreading Elegance, FRAC Champagne-Ardenne, Reims (2019); Friends of the SMAK, Ghent, Belgium (2019); What is he afraid of?, KW Institute for Contemporary Art, Berlin (2018); What is he afraid of?, Company, New York (2018); Four Season of Women Tragedy, Galerie Fons Welters, Amsterdam (2017); For An Embarrassed Person It is Always Very Difficult To Avoid Embarrassing Things, Carlos/Ishikawa, London (2017); Heatweave Wrinkle, Chateau Shatto, Los Angeles (2017); Allegory of Transience, Frans Hals Museum | De Hallen Haarlem, Haarlem (2017); Nurtured Aristocratic Life Before She Flies Away With a Shining Ship, Performance, Stedelijk Museum, Amsterdam (2015); Action...Cut! , Jakarta Yuz Museum, Jakarta (2013); She also participated in important group shows include It's Get Better V, ICA, London, UK (2017); Public program, Documenta 14, Kassel, Germany (2017); 'Dolf Henkes Prize', TENT Rotterdam, The Netherlands (2018). Her works were collected by Bonnefanten Museum, Maastricht, The Netherlands; Art Institute of Chicago, Chicago, United States of America; Centre Pompidou, Paris, France; FRAC Champagne-Ardenne, Reims, France and Stedelijk Museum Amsterdam, The Netherlands, amongst others.

特蕾莎·特拉奥雷·达尔贝里 Theresa Traore Dahlberg

特蕾莎·特拉奥雷·达尔贝里 (b.1983)在瑞典奥兰岛和布基纳法索长大。2017年，她在瑞典皇家艺术学院获得了美术硕士学位。在此之前，她曾在纽约的新学院和斯德哥尔摩戏剧艺术学院学习电影制作。2018年达尔贝里的作品曾在奥地利的泽勒·范·阿尔姆斯克和瑞典的乌普萨拉艺术博物馆展映。她的影像作品《出租车姐姐》(2011年)和《瓦加女孩》(2017年)已经在世界各地的电影节上放映，《大使夫人》也在2018年多伦多电影节上放映。艺术家凭借作品《大使夫人》获得节奏纪录片短片奖。近期，达尔贝里获得了2019年贝克斯艺术奖。

Theresa Traore Dahlberg (b. 1983) grew up on the Swedish island of Öland and in Burkina Faso. In 2017 she received a master’s degree in Fine Arts at The Royal Institute of Art in Sweden. Before that she studied film production at The New School in New York and at the Stockholm Academy of Dramatic Arts.  Traore Dahlberg has in 2018 been exhibited at Zeller van Almsick, Austria and Uppsala Art Museum, Sweden. Her films Taxi Sister (2011) and Ouaga Girls (2017) have been screened at festivals all over the world and The Ambassador’s wife was screened at Toronto Film Festival 2018. The same film awarded Traore Dahlberg the Tempo Documentary Short Award. Most recently she is the winner of the Beckers Art Award 2019.

姆旺吉·胡特尔 Mwangi Hutter

作为一种抵制基于性别、种族和文化背景的固定身份观念的创造性策略，Mwangi Hutter战略性地将名字和个人简介合并成一名艺术家。他们有意识地利用自己作为发声平台，反思不断变化的社会现实，创造一种自我认知和相互关系的美学。

姆旺吉·胡特尔工作于德国的柏林、路德维希港和肯尼亚的内罗毕，与当今许多全球艺术家一样，发挥着重要的作用。他们曾在全球许多地方展出过作品，包括纽约布鲁克林博物馆、史密森尼学会 - 国家非洲艺术博物馆、洛杉矶加州大学洛杉矶分校福勒博物馆、巴黎蓬皮杜中心博物馆、古尔本基安美术馆、法兰克福现代艺术博物馆、杜塞尔多夫艺术宫博物馆、布鲁塞尔艺术中心、伦敦海沃德美术馆，斯德哥尔摩现代博物馆、布拉格国立美术馆、东京森美术馆、横滨美术馆、圣保罗双年展、西班牙拉斯帕尔马斯的现代美术馆、达喀尔非洲当代艺术双年展、南非约翰内斯堡的美术馆、哈瓦那双年展、威尼斯双年展和第14届卡塞尔文献展等。

As a creative strategy to resist fixed notions of identity based upon gender, race, and cultural backgrounds, Mwangi Hutter strategically merged names and biographies to become one artist. They consciously use themselves as the sounding board to reflect on changing societal realities, creating an aesthetics of self-knowledge and interrelationship.

Based in Berlin and Ludwigshafen, Germany, and Nairobi, Kenya, Mwangi Hutter functions like many global artists today working across continents. They have exhibited their work in a wide range of geographic locations including the Brooklyn Museum in New York, Smithsonian Institution - National Museum of African Art in Washington DC, Fowler Museum at UCLA, Los Angeles, Centre Pompidou in Paris, Museu Calouste Gulbenkian in Lisbon, Museum für Moderne Kunst in Frankfurt, museum kunst palast in Düsseldorf, Palais des Beaux-arts in Brussels, Hayward Gallery in London, Moderna Museet in Stockholm, National Gallery in Prague, Mori Art Museum in Tokyo, Yokohama Museum of Art, Bienal de São Paulo, Centro Atlántico de Arte Moderno in Las Palmas de Gran Canaria, Dak’Art Biennale in Dakar, Johannesburg Art Gallery, South Africa, Havana Biennial, Venice Biennale and Documenta 14 in Kassel, amongst others.

作者：文艺星球