油罐艺术中心隆重呈现最新展览《More, More, More》，由Passing Fancy（朱筱蕤和弗雷德里克·克鲁兹·诺维尔）策划，埃莉斯·阿玛尼协助策划，展示28位艺术家新的委约作品和代表作。

《More, More, More》展览中的作品散布表达的种子，并把传播、不可翻译性和语言的外在性，视为交流的一个固有维度。本展览中的作品不停地泄漏、滴落、发芽、重复：，需要翻译、染色、分泌；发声、磕磕巴巴、反射和发光，“沾湿一切”，并扭动。这些作品在不停地生长，通过不同的方式，来回答最初的关于感知和形式的问题。

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本周，我们邀请了该展览中的两位艺术家赵要和塞西莉亚·本戈利亚（Cecilia Bengolea），来接管油罐艺术中心的社交媒体。赵要分享的内容来自于一些藏区山间的率真瞬间，他的艺术实践也长期根植于此。塞西莉亚·本戈利亚则展现了她于阿根廷拉潘帕省的工作生活及创作灵感。

TANK Shanghai proudly presents our upcoming exhibition More, More, More. Curated by Passing Fancy [X Zhu-Nowell & Frederick Cruz Nowell], with Elise Armani, More, More, More includes new commissions and existing works by 28 international artists.

Works in this exhibition leak, drip, sprout, repeat:, require translation, stain, secrete; utter, stutter, reflect, and glow, “wet everything," and wiggle. These are projects that grow, in different ways, from questions that, in earlier incarnations, were directed to feeling and form.

This week two of the More, More, More artists Zhao Yao and Cecilia Bengolea took over TANK Shanghai’s social media platforms. Zhao Yao shared some candid moments of life in the mountains of Tibet, where his practice is deeply rooted and where his work often “lives,” while Cecilia Bengolea shared some behind-the-scenes glimpses into her recent projects and life in La Pampa, Argentina.

赵要

Instagram: @zhaoxao

赵要1981年出生于四川泸县，2004年毕业于四川美术学院设计艺术系，现居北京。赵要的作品涉猎广泛，包括装置、表演、影像、绘画、雕塑和其他媒介。他一直关注艺术与观众的互动效果，每一次的展览都从过去的经验出发，以艺术本身所带有的惯性思考作为工作基础，每次创作都以改造自身过往来作为工作前提，通过“自我消费”实现再次创作。

Zhao Yao was born in Sichuan, China in 1981 and graduated from the Sichuan Fine Arts Institute in 2004. He currently lives and works in Beijing. Zhao’s works involve an extremely broad range of creative media, including installation, performance, video, painting, sculptures and many others. He always focuses on the relationship between art and its audience. He bases his practice on the art-related inertial reflection, developing each exhibition from previous experiences. This creates an on-going cycle of self-assessment, and reconstruction of the old to produce the new, a process the artist describes as “self-consumption.”

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“今天和大家分享的内容来自于我囊谦的朋友们的朋友圈，以此再次感受一下他们的乐观和自在。

2017年2月4日，卡则村很多人又回到山顶了，他们帮我去维护在雪山的作品。其间钻到了作品的底下玩耍，并拍下了这些照片。这些图片来自噶松那里。”

“Here are some contents from the WeChat Moments of my friends from Nangqian County, Qinghai Province, China. These help me relive their optimism and freedom.

On 4 February, 2017, several habitants from the Kaze Village returned to the pinnacle of the snowy mountain to help me maintain my works there. While they were there, they got under the bottom of the work to play, and took these photos. The pictures were taken by Ka Gsum.”

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“2020年1月7日，多噶、多杰和尕玛拉加他们在寺庙附近的澜沧江里面冬泳的小视频。多噶和多杰他们都各自发了这个游泳的小视频。”

“On 7 January, 2020, Rdo Dkar, Rdo Rje and Ka Dmar La took a short video clip of themselves swimming in the Lancang River near the temple. Rdo Dkar and Rdo Rje both posted this video.”

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“2020年4月10日，多噶拍摄的日晕小视频。”

“On 10 April, 2020, a short video of the solar halo taken by Rdo Dkar.”

塞西莉亚·本戈利亚 Cecilia Bengolea

Instagram: @ceciliabengolea

塞西莉亚·本戈利亚1979年出生于阿根廷布宜诺斯艾利斯。她通过视频，雕塑和装置来诠释她的人类学社区舞蹈实践。本戈利亚将行为艺术视为动态雕塑的一种形式，这令她可以同时成为客体和主体。她的作品之中注入了来源于自然和同理关系的象征性的能量，不管是单件作品还是作品的整体，都围绕着身体的观点形成一种媒介。

Cecilia Bengolea was born in Buenos Aires, Argentina, in 1979. She translates her practice of anthropological community dance through video, sculpture and installation. Bengolea conceives performance as a form of animated sculpture that allows her to become both object and subject simultaneously. Infused with the symbolic energies found within nature and empathic relationships, her compositions are formed around ideas of the body -- both individually and collectively -- as a medium.

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“两个月前，我搬到了阿根廷的拉潘帕省。这里每周都会因为暴风雨的原因断电断网，因此，我开始创作一个关注光线变化的镂空立牌作品。第一张图的底图拍自黄昏时刻——一天中非常短暂的光线瞬间。第二张是《日出时的嵌合式招摇》；最后一张是《拉潘帕的日落》。我喜欢这种每天都会在地平线上出现几秒钟的刻奇构图，这令我想到加勒比的鸟类和舞蹈服饰。”

“I moved to La Pampa two months ago. Here electric storms cut the power and internet every week, so I started on a series of cut-outs contemplating the changes in light. The first is from the dusk- extremely brief light moments of the day. The second is Chimeric parade in sunrise. The last one is Sunset in La Pampa. I love the kitch compositions appearing for a few seconds every day on the horizon. It reminds me of the caribbean birds and outfits for dance.”

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“几天前是我的朋友Kisskiss的生日，你可以从第一张照片中看到她。她是一位日本舞者，许多年前搬去了牙买加。当我在金斯顿（牙买加的首都）的时候，我们经常一起跳舞和拍视频。第二个视频是二月份在巴黎拍的我和吉迪（ig: @giddyelite_hitmaker）共舞。自从封城以来，他一直待在莫斯科，所以我们为他组织了Instagram和zoom直播课程，让他能够回到牙买加。第三个视频是去年九月份在牙买加拍摄的，当时我和Happy Feet（ig: @happyfeet_tg）共舞。Happy Feet是一名来自金斯敦的出色的编舞。”

“A few days ago was my friend Kisskiss' birthday (you can see her in the first image). She is a Japanese dancer who moved to Jamaica many years ago. We often dance together and make videos when I'm in Kingston. The second video is from February in Paris, when I danced with Giddy (@giddyelite_hitmaker). Since the lockdown he has been in Moscow, so we’ve organized Instagram live classes and zoom for him to be able to go back to Jamaica. The third video was shot last September in Jamaica when I danced with Happy Feet (@happyfeet_tg). Happy Feet is an amazing choreographer from Kingston.”

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“2019年，海洋温度的变化将尤卡坦半岛的海岸线转变为大片的海藻滩，陆地与海洋之间、海洋生物与陆地生命之间的界限被打破了，这也是与SFER IK陶瓷工坊合作制作的一系列雕塑的灵感来源。

这两个视频是在2019年的Performa双年展中，我与米歇尔·拉米（Michèle Lamy）共同表演《在我们死之前》。

我们的舞蹈表现了破坏，凝视和扩展的概念。我们用索尔顿海的雕塑遗迹以及米歇尔·拉米的Comme des Garçons系列雕塑性服饰来构建了我们自己。

动作就是事实。我的创作主要是关于身体发明自己的来源，自己的语言。出于什么目的呢？—— 为了从身体，我自己的身体，以及我们共同构成的社会身体的记忆中彻底消除暴力。我创造的动作有一个共同点：动作之间没有攻击性，没有等级。这就是为什么舞蹈是政治性的。”

“In 2019 changes in ocean temperature transformed the Yucatan coastline into a mass of seaweed. This breaking down of the boundaries between land and sea, between life beneath the ocean and that above ground was the inspiration for a series of sculptures produced with the SFER IK ceramic workshop (@sferik.art) (first three images).

Two videos are from my performance Before we die with Michèle Lamy @lalamichmich as part of the Performa 2019 (@performanyc). We danced the concepts of destruction, contemplation and expansion. Composing ourselves with the ruins of my sculptures from the Salton Sea and with the Michèle Lamy collection of Comme des Garçons sculptural dresses.

Movements are Facts. Mainly, my work is about the body inventing out its own sources, its own language. For what purpose? To completely erase violence from the memory of the body, my own body, but also the social body we constitute collectively. The movements I create have a common denominator: no attack and no hierarchy among the movements. That’s why dance is political.”

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“第一个视频是我的作品《同步蛇》，它是在奥运金牌获得者奥尔加·诺沃什切诺娃（Olga Novokshchenova）训练指导下，与牙买加花样游泳国家队合作创作的。视频的音效混合了深海生物，水生哺乳动物和摩托艇的声音。你将在上海的《More, More, More》展览中看到这件作品！我昨天用手机拍摄了第二个视频。我成长过程中一直有马伴随，但我很不擅长给它们指令。我一直很乐意看是什么激发了它们的好奇心，观察它们的精神状态，而不是通过训练改变它们。阿拉伯马非常活跃。视频中的母马叫罗曼尼，它很喜欢自由奔跑，这在其他品种的马匹中非常罕见。”

“The first video is my work Synchronized Serpent which was formed out of a collaboration with the national team of synchronized swimming in Jamaica, trained by the Olympic gold medalist Olga Novokshchenova. The sound is a mix of deep-sea creatures, aquatic mammals and jet skis. You will see this work in the More, More, More exhibition in Shanghai! I took the second video yesterday with my phone. I grew up around horses, but I’m quite bad at telling them what to do. I always love to see what sparts their curiosity and love to see their spirit, not changing them by training.  Arabian horses are very frisky. Romani (in the video), she loves to run free. Very rare in other kinds of horses.”

下周参与《More, More, More》艺术家接管项目的是多拉·布多（Dora Budor）和山河跳！。关注油罐艺术中心的官方微信公众平台、微博、Instagram账户实时接收艺术家接管项目的最近动态！

Look out next week for more Artist Takeover content from More, More, More artists Dora Budor and Mountain River Jump!