胶囊上海 | 艾维•海德曼 (Ivy Haldeman)

CapsuleShanghai 2018-12-16 13:05:02

胶囊上海很荣幸地介绍本次群展成员之一艾维海德曼的作品将于西岸艺博会(2017.11.10-12)首次在中国亮相。作品详情请阅读以下Iona WhittakerSleek杂志所做的采访。


Capsule Shanghai is excited to present Ivy Haldeman's work in China for the first time as part of our group show on the occasion of West Bund Art Fair (November 10-12, 2017). Learn more about Ivy's work in an interview by Iona Whittaker for Sleek magazine below.

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文:Iona Whittaker

翻译:ARTranslate


在最近的八年里,艾维海德曼的创作地点位于布鲁克林绿点区的仓库中。仓库内部洁净整齐,中间置有一张木桌,左侧墙上挂着热狗女士系列中近期18个月的一批最新画作。去年,这些作品中的七件在Simuvac Projects画廊《Pulp》展览中亮相,此次展览也是艺术家在纽约的个人首秀。尽管作品看似尤为简单,甚至接近于卡通,艺术家却运用有限的元素来精心构图,包括热狗女士的身体和四肢、柔软的面包、高跟鞋和书本。其中的身体特征较少,采用了拟人、生殖崇拜和女性化的表现手法,选用的色调限于奶油色、黄色、粉色和灰色。


Ivy Haldeman 艾维•海德曼Heel Ankle 脚踝 | 2017 | acrylic on linen 亚麻布面丙烯 | 61 x 41.9 x 2.5 cm


本系列中的每件作品都精确地描绘了热狗女士的不同姿态:读书、打盹、伸展、凝视一只粉色的脚,可谓千姿百态、难以穷尽。虽然每幅作品都独具特色,但整个系列看起来依然保留了延续性甚至常规性。作品名如特写鞋跟曲线上的食指热狗面包下蜷曲的脚踝静置于腿上的书等也同样平实。


这一系列均以素描开始创作。2008年海德曼从库伯联盟学院毕业后,便私下低调地画一些人体形象。我对身体一直很感兴趣,描绘身体会遇到很多问题。她说,画人体素描会产生许多困扰,有太多的问题。从身体的层面来展示人体会困扰你,因为身体本身看起来不美观或感觉不太好;历史中有很多关于描绘身体的话题,这与我们今天对话中要解决的一些问题来说难免有些法西斯,或不太相关。描绘你不能赞同的身体也会产生问题。当我看到漂亮的女性素描时我会非常沮丧,我惊讶为什么有人会喜欢这类作品。我认为一幅漂亮的女性图像能让人想起当今压抑着很多人的所有问题,但你又不能只画一个样貌丑陋的人,因为这根本解决不了问题。

Ivy Haldeman 艾维•海德曼Dozing Reader 打瞌睡的读者 | 2017 | acrylic on linen 亚麻布面丙烯 | 61 x 41.9 x 2.5 cm


海德曼在2011年偶然看到一家阿根廷酒店的广告图片,之后产生了焦虑,这便是热狗女士系列的灵感源起。我看见了穿高跟鞋、留着长睫毛的热狗。一开始我觉得很震惊,觉得是个冷笑话,但过了几年发现自己又回到了这个想法。每次构图都以一个具体的特征为开端。当我构想时,会想象她每部分的特点;所以在油画布上展开的叙述中,她的发型是一个特点,她的脚又是一个特点,以此类推。所有的处理方法都来自于这种构想。随后艺术家采用带有有生殖崇拜和女孩特点的元素来解决关于男子气概和女性柔美的问题。


在现实生活中,性别和美是被严格界定但又相互交叉的范畴,这没有错。这些让人困惑的身体对性别和美感的处理让我感到舒服。海德曼说,怎样描绘一位美丽的女性?如果你说我要像伦勃朗那样画,就很荒谬。但你要说我要通过加工肉为形象的吉祥物来表达灵魂最深处的向往,我更为赞同嗯,对的!你便这样描绘,但是她没有头发,她有一个外壳,现在这个形象就是这么创作出来的。

Ivy Haldeman 艾维•海德曼Lying Reader 卧读者 | 2017 | acrylic on linen 亚麻布面丙烯 | 61 x 41.9 x 2.5 cm


同样值得指出的是,热狗女士的姿势总牵涉到一种对寻常家庭活动或平静的揭示,包括被海德曼比作你想拍却拍不到的时刻。我故意画她们没有在做任何事。这是我的一种历史性叙事方式。这让热狗女士成为了一个与劳动相关的政治体,劳动是海德曼经常思考的话题(她有一段时间参加了马克思主义阅读小组)。


最后,海德曼的创作有一种美与倔强感。毕竟这个身体与处于可怕巅峰时期的法兰克福热狗这种加工肉有关;尽管存在着使人厌恶的因素,但这个形象能够萌生共鸣——她优雅又脆弱,可能有些疲倦却很满足,无害又精壮。当我谈到这些,海德曼大声说道:这就是我喜欢她的原因!我觉得它很好,因为这个躯体尽管包含了一切让我觉得十分害怕的东西,却让我爱怜并产生共鸣。被这系列丰富多彩的作品所围绕,她笑道:以热狗的形象开始创造很有意思。她变成了画布上的单一个体。但我还有很多其它的想法!


©Sleek》杂志第53期,2017年春


Ivy Haldeman 艾维•海德曼 | Full Figure, Sitting, Hand Pulls Back Bun to Reveal Thigh, Fingers Splayed on Open Book 全身坐像,手将热狗面包向后撩起露出大腿,五指张开置于打开的书本上 | 2016 | acrylic on linen 布上丙烯 | 61 x 45.72 x 2.5 cm




Text:Iona Whittaker

Click Read more for the original text


For the last eight years, Ivy Haldeman has worked from a warehouse in Brooklyn’s Greenpoint. Inside it is ordered, clean, uncluttered. In the middle is a wooden table, while on the left wall hang paintings from her “Hotdog Lady” series, an on-going collection she’s been working on for the last 18 months. Last year, seven of these images appeared at “Pulp”, her debut New York solo show held at Simuvac Projects. Although seemingly quite simplistic – cartoonish, even – Haldeman painstakingly creates compositions using a limited number of elements including the hotdog lady’s body and limbs, its soft bun, high-heeled pumps and a book. At once anthropomorphic, phallic and feminine, the figure’s features are slight, and her palette is restricted to cream, yellow, pink and grey.


Ivy Haldeman 艾维•海德曼 | Open Bun 张开臀部 | 2017 | acrylic on linen 亚麻布面丙烯 | 213.4 x 152.4 x 2.5 cm


Executed with precision, each painting in the series depicts the hotdog lady in a different pose – reading, snoozing, stretching, examining a pink foot. The repertoire seems endless; although each painting stands on its own merits, placed together they retain a sense of continuity, or even routine. The paintings’ titles such as “Close Up”, “Forefinger in Curve of Shoe Heel”, “Ankle Bends Under Bun”, and “Book Rests on Lap” are similarly prosaic.


Everything begins with drawing. Following her graduation from Cooper Union in 2008, Haldeman began sketching in private, reticent about the human form. “I was always interested in bodies, but bodies are so problematic to render,” she says. “Drawing a human body often could be really disturbing. There are so many problems. There’s physically manifesting a body that bothers you because it just doesn’t look good or feel good; there’s the heavy history of drawing bodies that is ultimately kind of fascist, or irrelevant to a lot of the questions we are dealing with in our conversations today. There’s also the issue of reproducing bodies you don’t agree with. When I see drawings of beautiful women I get really upset, and I wonder, ‘How can people even like this?’ I think an image of a beautiful woman rings of all the things that are oppressive to so many people right now. But then you can’t just draw an ugly person, because that doesn’t solve it.”


Ivy Haldeman 艾维•海德曼 | Back Hill 脚后跟 | 2017 | acrylic on linen 亚麻布面丙烯 | 61 x 41.9 x 2.5 cm


The Hotdog Lady series grew from this anxiousness following a chance encounter in 2011 with an image in an advertisement for a bodega in Argentina. “I had seen this hotdog with high heels and eyelashes. At first it struck me as a bad joke, but I found myself returning to the idea years later.” Each composition begins with a specific feature. “When I think about making a work, I think about individual parts of her as characters; so in the narratives that unfold on a canvas, her hairstyle is a character, her feet are a character, etc. All the action is coming from within these arrangements.” She then uses these elements in her incredibly phallic yet girlish character to tackle issues concerning masculinity and femininity.


“It’s fantastic because gender and beauty are codfying and confusing territory in real life, but I felt comfortable with them in this confusing body, says Haldeman. “How do you draw a beautiful woman? If you say ‘I’m going to paint like Rembrandt’, that’s ridiculous. But if you say ‘I’m going to express the deepest yearnings of my soul through the mascot for processed meat’, it’s more ‘Well yes!’ You do it like this – but she doesn’t have hair, she has a casing. That is what we come from today.”


Ivy Haldeman 艾维•海德曼 | Bun 臀部 | 2017 | acrylic on linen 亚麻布面丙烯 | 213.4 x 152.4 x 2.5 cm


It is worth noting, too, how the hotdog lady’s poses always entail a sort of revelation of banal domestic activity or repose, including what Haldeman likens to the time when the thing you would want to photograph isn’t happening. “There is something wilful about how the lady manifests doing nothing. [It’s] kind of my way of writing a historical narrative.” This is what makes the hotdog lady a political body connected with labour, something Haldeman thinks about a lot (for a while she was part of a Marxist reading group).


Ultimately, there is both a beauty and a perverseness to what Haldeman creates. This body, after all, is about industrialised meat with the frankfurter hotdog at its horrifying apex; yet despite this element of disgust, it also inspires empathy – she is elegant and vulnerable, perhaps a little fatigued, but content, somehow harmless and robust. When I say this, Haldeman exclaims, “But that’s why I love her! I thought this was good because I love and empathise with this figure, even though she embodies all the things I’m very scared about.” Surrounded by a rich series of works that seems far from exhausted, she laughs, “It’s funny having started with this hotdog figure. She’s become a singular entity on the canvas. But I have a lot of other ideas!” 


© [Sleek magazine #53 Spring 2017]



欢迎11月10-12来胶囊上海在西岸艺术与设计博览会的展位(T2)看更多作品,我们此次带去的艺术家有:王凝慧、高源、Sarah Faux、冯晨、Louis Fratino、Ivy Haldeman、陈俐俐、Doron Langberg. 

Come and visit us at West Bund Art & Design 2017, Section Talent, Booth T2. We will present works by Alice Wang, Gao Yuan, Sarah Faux, Feng Chen, Louis Fratino, Ivy Haldeman, Lee Lee Chan and Doron Langberg.



即将展览:《杂毛连须公》

Upcoming Exhibition: Scraggly Beard Grandpa

2017.11.04 - 2017.12.22



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