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The second 3 selected films are Colombian/British artist Carolina Caycedo’s Apariciones / Apparitions (2018) selected by the Ballroom in Marfa, US; Italian artist Jacopo Miliani ’s Deserto (2017) selected by GAMeC in Bergamo, Italy; and Turkish artist Senem Gokce Ogultekin’s Dun (EV) (2018) selected by Istanbul Modern in Turkey.

Apariciones / Apparitions (2018) depicts ghost-like dancers inhabiting the historic Los Angeles landmark, The Huntington Library and its Art Collections and Botanical Gardens. The brown, black, and queer bodies haunt The Huntington’s iconic and traditional spaces – such as the sweeping sculpture-lined North Vista lawn, the Ahmanson rare-book and manuscripts reading room, or the Portrait Gallery that houses Thomas Gainsborough's The Blue Boy – in sensuous movements informed by the rituals of Afro-Brazilian deity, Oxum, an Orisha (or goddess) representing water, sexual pleasure, fertility, and love. The bodies of the dancers, or phantoms, become sources of knowledge, and their gaze holds the viewer accountable, something that is too often missing from history and art; inhabiting historically white spaces in ways that they have never been inhabited before.

Deserto (2017) reflects on the possibility of speaking about multiple identities through the invention of a new language. Through only the movement of two hands and a voice over, the desert is evoked as the place where the sand never takes a precise shape. The desert is also a symbolic reference to two specific films: Teorema (1968) by Pier Paolo Pasolini and The Adventures of Priscilla, Queen of the Desert (1994) by Stephan Elliot. The protagonists of these movies are ‘the Guest’ (a mysterious stranger with a fluid sexuality) and Bernadette (a transgender character), respectively, and both played by the same British actor Terence Stamp. These films are the starting point for the text created by the artist and narrated by a voiceover, where real and fictional identities disappear, dismantling the existence of any fixed role.

塞内姆·格克切·奥乌尔泰金 Senem GkeOultekin

故乡 Dun (Ev) 2018

13′13″

图片由艺术家、土耳其伊斯坦布尔现代美术馆提供

Courtesy the artist,Istanbul Modern

由土耳其伊斯坦布尔现代美术馆选送

Dun (EV) (2018) was shot among the ruins of the 10th AD historical town of Ani next to the closed border between Armenia and Turkey. The land on the two sides of the border meet and are in dialogue with each other through the bodily interaction of the two dancers, one from Turkey and the other from Armenia. It is a story of mutual nourishment and possible future building based on dance and sensuous listening of the space by two old souls. The film takes its starting point from the idea that when we give space to our sensuous bodily existence we are able to transcend cultural borders and refrain ourselves from dissecting and calculating world views. Then abstract identities such as gender, nationality, style, and ideology disappear revealing concrete living beings in bodies that sweat, shiver and breathe, adorned with a heart that loves, mourns, and hopes.

Special Thanks: Exclusive audio equipment sponsor KEF.

关于艺术家

About the Artists

1978年生于伦敦，现生活工作于洛杉矶。艺术硕士毕业于洛杉矶南加州大学罗斯基美术学院洛杉矶安第斯大学。美术学士毕业于哥伦比亚波哥大洛杉矶安第斯大学。她近期个展及艺术项目包括：“水域会议”第八届缔约方水公约，联合国欧洲经济委员会，哈萨克斯坦阿斯塔纳（2018）；“疯狂的法术”，洛丝拉图斯新美术馆，危地马拉（2017）；“水一体”，领结项目，时钟商店，洛杉矶（2015）；“朋友之地”，Gayle and Ed Roski画廊，洛杉矶（2014）；“湍流被定义为暴力，但被河床包围的急流才是无人的暴力”，德国学术交流中心，柏林（2013）；“女刑事犯”，弗里兹伦敦艺博会“Frame”版块，伦敦（2012）等。她近期群展及艺术项目包括：“洛杉矶制造”，汉默尔博物馆，洛杉矶（2018）；“众水之间”，惠特尼博物馆，纽约（2018）；“南巡的宝藏“，首尔9艺术博物馆，韩国（2017）；“远程规划：气候与基础设施”，人力资源洛杉矶画廊，洛杉矶（2016）；“带入现实，不再为空”，内森卡明斯基金会，纽约（2015）等。