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本周，我们邀请了《More, More, More》展览的艺术家帕梅拉·罗森克朗茨（Pamela Rosenkranz）接管油罐的社交媒体，让我们一窥她神秘的工作室创作和装置作品！This week More, More, More artist Pamela Rosenkranz is taking over TANK Shanghai’s social media platforms to give us a glimpse into her enigmatic studio practice and installations!
Instagram: @pamela_rosenkranz
《治愈者（沙）》，2019年
机器人，电路板控制单元，电池，LED灯
3D打印的头和尾，蛇形柔性皮肤
“创造新时间”，由奥马尔·哈利夫策划
第14届沙迦双年展，2019年
致谢艺术家、苏黎世Karma International画廊、纽约Miguel Abreu画廊和Sprüth Magers画廊Robot, Circuit Board Control Units, Battery, LED light, 3D Printed Head and Tail, Kirigami Skin“Making New Time,” curated by Omar Kholeif, Sharjah Biennale 14, 2019
历史悠久的贝特·爱尔·瑟卡尔（Bait Al Serkal）大楼曾是一个妇产科病房，它的中庭构成了作品《治疗者（沙）》的栖息地。从建筑的各个长廊都能看到这个中庭，人们可以透过巨大的玻璃门窗来观察它的行为，就如同一个露天的宠物饲养箱。有时候它隐藏在植被后或在视觉盲点处，你就看不到它。它躺在那儿不动弹，在阳光下闪闪发光。突然之间，它无声地抬起头，观察它周遭的环境。它的运动是由算法启动和控制的，该算法与周围环境的电噪声相关联，包括观众使用手机拍摄时产生的信号也会在不知不觉中对这条蛇的行为产生影响。由于蛇的运动方式不可预测，因此有时候需要一些耐心才能真正看到它的运动。实际上，这个拥有神秘的动作序列的蛇形机器人， 因为双年展的观众们认为的它不稳定行为与真实的蛇无异，从而变成了一条真正的“蛇”。这条蛇邀请观众进入它的时间轴，真正地去“创造新的时间”。然而对于一些人来说，蛇在沙子上留下的这些痕迹，是这个机器蛇真实地探索过其周遭环境的唯一证据。
——帕梅拉·罗森克朗茨与舒门·巴萨对谈
The courtyard of the historic Bait Al Serkal building, a former maternity ward, formed the habitat of Healer (Sands). The courtyard was visible from all around the galleries of the building and there were huge glass windows and doors that gave a perspective to observe its behaviors, almost like in an open-air terrarium. It was not always visible, hidden behind vegetation or in a blind spot. It lay there, shining and without movement, in the sun, and all of a sudden it would silently lift its head and observe the surroundings. Its movements were initiated and controlled by algorithms which connected to the electrical noise of the surroundings including the signals of mobile phones by the visitors filming it, unknowingly, having an influence on the behavior of the snake. Since its patterns of movement were unpredictable, it required patience to actually see the snake move sometimes. In fact, the robot, with its enigmatic motion sequences, became a snake through the Biennial visitor who considered the behavior to be just as erratic as a real snake’s behavior. The snake invited the viewer to enter its timeline and literally was “Making New Time.” But for some, the snake’s traces in the sand were the only proof that the robot had actually explored its surroundings.
(Pamela Rosenkranz in conversation with Shumon Basar)
2019年冈山艺术峰会“如果蛇“ ，皮埃尔·于热策展IF THE SNAKE, curated by Pierre Huyghe, Okayama Art Summit, Okayama, 2019
2019年冈山艺术峰会“如果蛇“ ，皮埃尔·于热策展IF THE SNAKE, curated by Pierre Huyghe, Okayama Art Summit, Okayama, 2019
摄影：贡纳尔·迈耶；图片来自出版物：《帕梅拉·罗森克朗茨：我们的太阳》，Mousse出版社，2009年
Photo: Gunnar Meier; Publication: Pamela Rosenkranz: Our Sun, Mousse Publishing, 2009
《治愈者（水）》是一条海蛇。它模拟水面的反射，以及从一个表面到另一个表面的渗透性和过渡。就像水面在反射光线时总会改变其外观，但始终标记从一个世界到另一个世界的过渡一样，闪闪发光的蛇是不同世界之间的发射器、连接和中间物。机器蛇的众多的栖息地之一，是早前的日本相扑选手的擂台“土俵”。这里不仅是一个擂台，更是灵性居住的地方。“依代”是指神灵可以依附于人和物体的场所，心理和精神层面上的善恶斗争在此发生。在这个土俵里，机器蛇超越了它存在的所有可能性，成为一个生活在神灵赋予物体和生灵生命之地的设备和动物。Healer (Waters), is a snake that has come from the sea. It will imitate the reflections of a water surface, and the permeability, the transition from one to the other. Like a water surface that reflects rays of light always differently changes its appearance, but nevertheless always marks the transition from one world to the other, the shimmering snake appears, transmitter, link and intermediate being between the worlds. There the snakebot will inhabit—next to possible other designated places—the former ring of sumo wrestlers, the Dohyo. This place, is not just a ring, but a place inhabited by spirits. Yorishiro is where people and objects can be inhabited by deities and where the battle of good and evil is fought on a psychological and spiritual level. In the dohyo, the robot transcends all possibilities of its existence, as a device and animal that lives where the gods animate objects and beings.(Pamela Rosenkranz in conversation with Shumon Basar)
摄影：雅科波·米兰尼斯；致谢普拉达基金会
Photo: Jacopo Milanesi. Courtesy Fondazione Prada
Photo: Jacopo Milanesi. Courtesy Fondazione PradaPhoto: Jacopo Milanesi. Courtesy Fondazione Prada在微生物层面上，人类与猫类之间有着着深远的进化上的联系。人猫共患的神经活性寄生虫让我们对猫的气味产生情感反应。人工合成的猫信息素是很多香水、洗涤剂甚至是食品中商业香调的基础。猫是最早被人类驯化的动物之一，大约在一万年前的新月沃土，人类就开始驯服和繁育猫。人们养猫是为了让它们捕食传播疾病的老鼠，而猫的祖先作为成功的猎手和食人野兽的过往，也唤起了迷人而古老的回忆。Night Sight and Cat Pheromones (part 1)There is a deep evolutionary connection between us and cats on a microbial level. A shared neuro active parasite makes us react emotionally to the smell of cats. Cat pheromones have been synthesized and basis to many commercial scents in perfumes, detergents and even foods. The cat was one of the first animals to be domesticated by humans. Around 10,000 years ago, in the Fertile Crescent, cats were tamed and bred. They were used to prey on mice, which can spread diseases, but they were also an attractive and archaic reminder of their past as successful hunters and eaters of men.
Detail of the Pattern Tension series
Detail of the Pattern Tension series Detail of the Pattern Tension series Detail of the Pattern Tension series Detail of the Pattern Tension series 虎斑图案会触发人类的“战斗或逃跑”的应激反应，但也传达了性主导和文化主导的信号。我在谷歌浏览器上搜索虎斑猫、虎斑大衣、可爱的猫、礼品商店里猫首人身女神贝斯特的复制品以及记梦碑——公元前1400年，法老图特摩斯四世命人将自己癫痫发作时所见的关于斯芬克斯和正午天空神示刻于碑上。我在图片的亚克力玻璃板上画了一层又一层的透明丙烯酸颜料，给它盖上了一层三维的多孔的皮肤，然后在这上边继续涂画并往它上面挤压，将其弄成一个虎斑的图案。漆里有皮肤色的颜料、猫毛、撒哈拉以南地区原生的沙和土壤的色调。Night Sight and Cat Pheromones (part 2)Tabby patterns trigger fight or flight responses in humans but also signal sexual and cultural dominance. I was searching Google for images featuring tabby cats and tabby coats, cute cats, replicas of the cat goddess Bastet from a gift shop, and the Dream Stele, in which the Pharaoh Thutmose IV inscribed his spiritual vision of the Sphinx, and the high noon sky, produced by an epileptic seizure in 1400 BC. I painted layers of transparent acrylic paint that cover the image with a three-dimensional and porous “skin” that sticks to the acrylic glass, which was then painted over and pressed towards it and into a tabby pattern itself. The paint used pigments of skin tones, cat furs, and hues of the sand and earth native to the sub-Saharan African landscape.
/// 关于艺术家
帕梅拉·罗森克朗茨1979年生于瑞士乌里。罗森克朗茨于2004年获得伯尔尼艺术学院艺术硕士学位，现为慕尼黑大学的教授。
罗森克朗茨是一名跨学科的艺术家，她的创作媒介包括纸上作品、装置、视频以及概念和抽象雕塑。她研究人们赋予自然世界意义的系统，以反映我们仰赖拟人化以及构建隐喻，为我们所处的环境引导方向。她的艺术创作涉及当代人在日常生活中常常遇到的图像饱和与信息过载相关的主题， 通过构建连结让观众看到物件与概念之间意想不到的联系，而这同时也疏离我们。她巧妙地令光、色、香、声等看似非物质的元素以及包括激素和细菌在内的有机成分相互影响，并将其与传达“何为人类”的历史、哲学、宗教和商业类图像进行碰撞。
罗森克朗茨近期的个展和特别项目精选包括：冈山艺术峰会“如果蛇”（2019），第15届里昂双年展“水在那儿交融”（2019），第14届沙迦双年展“离开回音室”（2019），苏黎世圣母大教堂十字形回廊 （Kreuzgang Fraumünster），“异客蓝光”（2018），米兰普拉达基金会“轻微搅动2/4：帕梅拉·罗森克朗茨”（2017），贝加莫现当代美术馆“外来文化”（2017），路易斯安那现代艺术博物馆“在那里”（2017）以及杜塞尔多夫北莱茵-威斯特法伦艺术品收藏馆“K21艺术家房间”（2017）。此外，她的项目“我们的产品”在2015年代表瑞士参加了第56届威尼斯双年展。
Pamela Rosenkranz was born in Uri, Switzerland in 1979. Rosenkranz received her MFA from the Academy of Fine Arts, Bern, in 2004, and is a professor at Kunstakademie Munich.
Rosenkranz is an interdisciplinary artist whose practice encompasses works on paper, installations, videos and conceptual, abstract sculptures. She investigates the systems by which people give meaning to the natural world, reflecting on our need to anthropomorphize and construct metaphors to navigate our lived environment. Making reference to topics we encounter in the image-saturated and information-overload of everyday life, Rosenkranz creates links that enable us to see the unexpected connections between objects and ideas, whilst also alienating us at the same time. Her skillful interplay of supposedly immaterial elements such as light, colour, scent and sound – as well as organic components including hormones and bacteria – confront historical, philosophical, religious and commercial images that transmit what it means to be human. Rosenkranz’s recent selected solo shows and special projects include: Okayama Art Summit: IF THE SNAKE (2019); 15th Biennale de Lyon: Là où les eaux se mêlent (2019); Sharjah Biennial 14: Leaving the Echo Chamber (2019); Alien Blue Light, Kreuzgang Fraumünster, Zurich(2018); Slight Agitation 2/4: Pamela Rosenkranz, Fondazione Prada, Milan(2017); Alien Culture, GAMeC Bergamo, 2017; Being There, Louisiana Museum of Modern Art, Humlebæk (2017); and K21 Künstlerräume, Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2017). Rosenkranz’s project Our Product was selected to represent Switzerland at the 56th Venice Biennale in 2015./// 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·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。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.
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。
