↓ Scroll down for English ↓本周《More, More, More》展览的艺术家迪文·肯尼（Devin Kenny）接管油罐艺术中心的社交媒体，分享一些构成并为他的创作提供了信息的音乐、视觉和参考资料。This week one of the More, More, More artists Devin Kenny is taking over TANK Shanghai’s social media to share music, visuals, and references that comprise and inform his practice.
Devin Kenny
Instagram: @crashingwavy
《云表情符号XX》是迪文·K肯尼制作的一首“卧室流行音乐”新曲。这首黑色幽默、苦乐参半的歌曲记录了与一个只能通过智能手机和笔记本电脑才能接触到的的人的远距离爱情故事，而为了阻止新冠传播而进行的自我隔离，使得这种关系变得更加脆弱。各个流媒体平台上都能搜到《云表情符号XX》 !Cloudemoji XX is a new “bedroom pop” song by Devin KKenny. This darkly comic bittersweet song chronicles a distant love affair with a person only accessible through smartphones and laptops, the connection made even more tenuous by the need to self-quarantine to prevent the spread of Covid-19. Find Cloudemoji XX on various streaming platforms!
《下一个转弯》是迪文·K肯尼，又名dkyk / diqueyque所制作的一张专辑。这张专辑探索了墨西哥蒙特雷地区的“昆比亚减音乐”和德克萨斯州休斯顿“切碎并拧紧”（chopped and screwed）嘻哈音乐之间的历史重叠，专辑的歌词围绕着逃避人际虐待关系的一些策略。Los Giros De La Siguiente is an album by Devin Kenny aka dkyk / diqueyque. Exploring the historical overlap between Monterrey, Mexico’s “cumbias rebajadas” and Houston, Texas’ “chopped and screwed” hip hop, the album’s lyrics center around strategies for escaping abusive interpersonal relationships. dkyk - 杰德·亚历克西斯·塞克（ Jade Alexis Thacker） 设计了专辑的封面dkyk - cover by jade alexis thacker
dkyk - 歌曲《惊喜》，《下一个转弯》专辑, 舞者: Gala
dkyk - Surprise, los giros de la siguiente, dancer: Gala
https://www.fiverr.com/galadancer
dkyk - 《下一个转弯》专辑，卡带包装设计: 迪文·肯尼dkyk - los giros de la siguiente, cassette tape package design: Devin Kenny
dkyk -《下一个转弯》专辑，多折页专辑艺术设计及艺术指导: 迪文·肯尼dkyk - los giros de la siguiente, multifold album art design and art direction: Devin Kenny
dkyk - 歌曲《浑浊的空气》，《下一个转弯》专辑， 舞者: @Nick_stuntdkyk - El Aire Es Mugre, los giros de la siguiente dancer : @Nick_stunt
迪文·肯尼用第二自我迪文·K肯尼和其他名字，使用“通用语言”——音乐—— 为媒介来谈论各种文化问题，以及也将音乐作为一个形式探索的空间。访问下面的网站看看服装、视频和其他作品!
https://linktr.ee/devinkkenny
Devin Kenny uses the alter ego Devin KKenny and other names to use the medium of music “the universal language” to talk about various cultural issues as well as a space for formal exploration. See clothing, video, and other work at the website below!
https://linktr.ee/devinkkenny
迪文·肯尼此次在油罐艺术中心的全新国际展览《More, More, More》，用他的若干艺名，呈现了两件声音作品：
Devin Kenny presents 2 sound works at TANK Shanghai’s new major International exhibition More, More, More, under his pseudonyms:
Devin KKenny （迪文·K肯尼）
black hole sun (scratched CD at UO / Devin KKenny remix)
黑洞太阳（划损CD在UO / 迪文·K肯尼混音）
2011/2020
数字音频文件
Digital audio file
4分11秒
4 min., 11 sec.
dkyk / diqueyque
NE2C (a-side) from the album los giros de la siguiente
（专辑《下一个转弯》中的歌曲《NE2C (A面)》 ）
2019
数字音频文件
Digital audio file
3分56秒
3 min., 56 sec.
迪文·肯尼的两件声音作品：《黑洞太阳（划损CD在UO / 迪文·K肯尼混音）》和专辑《下一个转弯》中的歌曲《NE2C (A面)》在《More, More, More》展览中的现场图,它们被在一个灰色的圆形窗帘结构中，使用聚音罩呈现。Installation view of Devin Kenny’s sound works: black hole sun (scratched CD at UO / Devin KKenny remix) and NE2C (a-side) from the album los giros de la siguiente at the More, More, More exhibition. The sound works are presented with a sound dome inside a round structure covered by grey curtains.“在我们使用WAV或MP3文件、CD、磁带或唱片等媒体格式听音乐时，我们习惯于只听到“音乐”，而媒体播放器则消失在背景之中变得“隐形”了。迪文·肯尼的音乐实践揭露了音乐媒介“隐形”的逻辑悖论。” 肯尼的“版本的《黑洞太阳》通过模拟录音格式上的损坏，矫正了音乐与其物质过程之间的关系，以及我们对普世化的艺术价值——例如“真实性”——的诠释。”
他的 “唱片《下一个转弯》（los giros de la siguiente），同样地探索音乐、声音制作和再制作之间的关系”，并“迫使听众和艺术观众寻求并颂扬那些不同于传统艺术史解释“他者”的替代性的表达方式，艺术家常常被迫使地“讲出”他们自身的差异。”——弗雷德里克·诺维尔
When listening to music through media formats like WAV or MP3 files, CDs, cassettes, or records, we are conditioned to hear just “the music,” and the media player disappears into the background, becoming “invisible.” … By simulating damage to the format for recorded audio, Kenny’s version of “Black Hole Sun” remediates the relationship between music and its material processes, as well as our interpretation of universalizing artistic values like “authenticity.” His album los giros de la siguiente (the turn of the next) also investigates the relationships between music, sound production, and reproduction, and… obliges listeners to seek out alternative forms of expression that depart from traditional art historical models of interpreting otherness, which institutionally have compelled or required artists to “speak” of their own difference.— Frederick Nowell
/// 关于艺术家
迪文·肯尼（1987年生于芝加哥）是一名跨学科的艺术家、作家、音乐家、制作人和独立策展人。他惯用音乐、表演、视频、写作、时尚设计以及几乎所有其他可能的艺术实践来探索和复杂化当代文化。肯尼的作品经常以网站、博客、视频文章和音频文件的形式存在于网上，运用社交媒体驱动的青年文化典故来触及其基础受众。他的作品在自由传达广泛思想的同时，颠覆性地插入政治和哲学理论，以互联网为素材和场所，对文化生产进行消费和加工，将其重新展现给观众。
迪文·肯尼曾与纽约、芝加哥、洛杉矶及其他地区的诸多艺术和音乐平台合作，包括纽约Recess艺术空间，阿姆斯特丹Het Roode Bioscoop，洛杉矶REDCAT，洛杉矶Freak City，柏林Julia Stoschek收藏，休斯顿艺术博物馆核心项目，墨西哥城SOMA Sum mer项目，歌德学院（纽约）以及纽约现代艺术博物馆PS1当代艺术中心，其中他参加了PS1当代艺术中心2015年的“大纽约”（Greater New York）项目。肯尼毕业于库珀联盟学院，2013年从加利福尼亚大学洛杉矶分校的新流派（New Genres）部门获得硕士学位，同时也是惠特尼独立研究项目的校友。
Devin Kenny (b. 1987, Chicago) is a crossdisciplinary artist, writer, musician, producer, and independent curator. He uses music, performance, video, writing, fashion design, and almost any other means possible to explore and complicate ideas on contemporary culture. Kenny’s work often exists online, as websites, blogs, video posts, and audio files. Employing the tropes of social media—driven youth culture to reach a base audience, the work is free to convey broad ideas while subversively inserting political and philosophical theory. Kenny uses the Internet as source material and venue, consuming and processing cultural production to reveal it anew to his audience.
Kenny has collaborated with various art and music venues in New York, Chicago, Los Angeles, and elsewhere, including Recess, New York; Het Roode Bioscoop, Amsterdam; REDCAT, Los Angeles; Freak City, Los Angeles; Julia Stoschek Collection, Berlin; the Core Program at the Museum of Fine Arts, Houston; SOMA Summer, Mexico City; Goethe-Institut New York, and MoMA PS1, where he participated in Greater New York (2015). A graduate of Cooper Union, Kenny received his MFA in 2013 from the New Genres department at University of California Los Angeles and is an alumnus of the Whitney Independent Study Program.
/// 关于展览 More, More, More 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·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。TANK Shanghai proudly presents our upcoming exhibition More, More, More. Curated by Passing Fancy [X Zhu-Nowell & Frederick 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.
/// TANK Artist Takeover 往期回顾
Brook Hsu
HUBLOT宇舶表于1980年成立于瑞士，以创造性地运用贵金属与橡胶的组合，开启创新历程。“融合的艺术”源于充满远见卓识的董事会主席Jean-Claude Biver的畅想，自2012年起在首席执行官Ricardo Guadalupe推动下不断向前迈进。秉承 “敢为先锋，独树一帜，与众不同”这一理念，宇舶表坚持保留传统的同时探索前沿工艺。通过材质上的创新（耐磨魔力金、明亮彩色陶瓷、蓝宝石）以及自产机芯的创作（Unico,Meca-10,陀飞轮），宇舶表始终处于潮流前端。
作者：上海油罐艺术中心
特别声明：本文为艺术头条自媒体平台“艺术号”作者上传并发布，仅代表该作者观点。艺术头条仅提供信息发布平台。
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Brook Hsu
