【台北·敦仁】 【台北·仁爱】 「缝合 Sew up」── 卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri 亚洲首个展 2022.10.08- 2022.12.11

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Bluerider ART

「缝合 Sew up」

卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri
亚洲首个展 台北.敦仁|台北.仁爱 双馆呈现

卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri (挪威, b.1975),毕业于挪威奥斯陆国家艺术学院服装设计(National Academy of the Arts, Oslo),自小在充满创造力的环境长大,跳脱典型挪威式极简风格,承续北欧忧鬱冷冽的气质,融合服装工艺,利用旧衣、碎布、残片织品,混乱中透过解构、缝合、再造,赋予作品新意象,以中性色彩的织品艺术(Textile Art) 探讨当下社会集体的限制、期待、秩序、孤立议题,形成个人独特风格。曾于挪威Kunstmuseet NordTrøndelag、Danubiana Meulensteen Art Museum等美术馆、及丹麦Socle Du Monde双年展展出,作品由Kongsberg Municipality,Den Norske Husflidforening等机构永久收藏。

卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri童年因家境不富裕,裁缝师的母亲常以旧衣物等易取得的布料材质进行设计,化腐朽为神奇,深深影响巴赫里Bahri对于织品兴趣,骤逝的父亲令她陷入孤立沉默、自我怀疑、感觉身体被牢笼所困,而唯有透过将碎片旧布、织补缝合再创造的过程,才找到可以发声的方式。母亲对她是媒材的启发,而父亲意象则反覆出现在她的创作内容中。她曾表示:「我运用衣服和布料做为沟通的语言,解放它们包装身体的功能。」织布,有温度的材质,衣物作为遮蔽身体的物件,与个人肌肤有著最亲密的接触,一旦新衣穿过之后,就不再是全新状态,个人的心智状态与情绪,都会在衣物上留下时间痕迹,它是自我私密的对话,同时也是个人对外标志著自我于社会中的形象。

巴赫里Bahri善用手工缝製方式,与收集来的织布长时间相处,发掘纤维的细节,通过天然的棉、麻、毛料材质,选择白色、或中性色彩呈现,认为艺术通常呈现生命中较沉重的层面,使用中性色彩可以不被愉悦或悲伤的情绪干扰影响,可以解放禁锢的身体,跳脱自我设限的困境,进而创造独一无二的生命故事。以织线为画笔,创作探讨当下社会群体的限制(Limitations)、秩序(Restrictions)、期待(Expectations)、孤立(Isolation) 等议题,藉由现成物的混乱、被抛弃、瑕疵、腐朽、不完美的重新诠释再造,提供观者跳脱自我圈圈,立于客观位置反思记忆经验,从这样的位置激发「过去我是谁」、「未来我是谁」、「我可以成为谁」的自我对话、思辨认知和妥协的过程。

二十世纪的织品艺术(Textile Art),艺术家运用纤维的韧性及织物连结身体的亲密感,表现自身的立场,并与传统的编织工艺做出区隔。德裔美国艺术家安妮・亚伯斯Anni Albers, 是第一位打破艺术与工艺界线的艺术家,她利用织品纤维的特性让天然材料、合成线、金属塑料融入挂毯作品,研究画面的几何佈局与画面平衡,美国艺术家茱蒂丝・史考特Judith Scott以织品缠绕包裹作品闻名,创造一系列的日常生活的物件,钥匙、塑胶管或购物车,线性围绕状态暗示著仪式与游戏的过程。当代日本艺术家塩田千春 (Shiota Chiharu),以毛线及现成物组成的装置艺术,带领观众体验人生的旅途,并将死亡的恐惧完整记录下来。卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri的作品,则有别于将编织作为个人生命的经验再现,以旧布痕迹、手工缝线、缝合时间碎片,对抗社会共同体价值观对单一个体影响,有著更为深刻细腻的诠释。

这次在Bluerider ART登场「缝合」(Sew up) -卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri亚洲首个展,亦是Bluerider ART 首次代理、展出织品艺术Textile Art,展场联合台北.敦仁、台北.仁爱双馆,将展出其历年来的系列代表作品,从牆上到大型集合装置。展名「缝合」(Sew up)具有多重意义,外在现成织品的纤维解构与缝补,内在唤起个人时间碎片记忆的共感,并对单一个体在整个社会群体中关于限制、秩序、期待、孤立的对抗与和解。台北.敦仁展出作品 Circus (2017) 记忆中父亲工作的既是小丑装,也是马戏团帐篷,勾起人前欢乐人后悲苦、笑中带泪的共感经验。作品Inception (2016)选用旧麻布袋缝线缝製而成,暗喻著怀胎过程的辛苦与新生的喜悦。作品Sleep tight (2014)将衣物束缚在盒中,一方面呈现身体受包裹的安全感,一方面也形成限制身体的无形框架。作品 General People (2013)则用各式不同的衬衫及外套组合的群体,表现社会集体的心理状态,看似可爱的造型背后隐含质疑的反差。台北.仁爱则展出大型集合装置Garment Bags (2016),由80件衣架衣袋组合,向著同一个方向整齐排列。人们对于什麽时期应该做什麽事有著共同的观点,进而触发某种期待亦是限制,表现其实人都害怕被孤立,也为符合社会期待而遵守秩序。

卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri使用织品Textile art 作为说故事的媒介,表面上操作著破布、织品、织线、碎片等混乱的元素,实则深入解剖衣物痕迹感受的记忆温度,与深刻的内心世界所隐藏的心理状态,透过创作呈现喜怒哀乐情绪的人性微缩,她的艺术是批判性的和解,同时也是对于灵魂深处的关怀。

「缝合 Sew up」
卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri 亚洲首个展

VIP Opening 开幕式 (藏家预览)
10.8 Sat. 2pm – 5pm
Open to public大众开放
10.8 Sat. 5pm – 7pm

展期
2022.10.8 – 12.11
地點
Bluerider ART 台北.敦仁Tue.-Sun., 10am – 7pm
台北市大安区大安路一段 101 巷 10 号 1F
Bluerider ART 台北.仁愛Tue.-Sat., 9am – 6pm
台北市大安区仁爱路四段25-1号10楼

艺术家 Artist


Kari Anne Helleberg Bahri
卡里.安妮.赫勒伯格.巴赫里
Norway , b. 1975 )

卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri (挪威, b.1975),毕业于挪威奥斯陆国家艺术学院服装设计(National Academy of the Arts, Oslo),自小在充满创造力的环境长大,跳脱典型挪威式极简风格,承续北欧忧鬱冷冽的气质,融合服装工艺,利用旧衣、碎布、残片织品,混乱中透过解构、缝合、再造,赋予作品新意象,以中性色彩的织品艺术(Textile Art) 探讨当下社会集体的限制、期待、秩序、孤立议题,形成个人独特风格。曾于挪威Kunstmuseet NordTrøndelag、Danubiana Meulensteen Art Museum等美术馆、及丹麦Socle Du Monde双年展展出,作品由Kongsberg Municipality,Den Norske Husflidforening等机构永久收藏。

卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri童年因家境不富裕,裁缝师的母亲常以旧衣物等易取得的布料材质进行设计,化腐朽为神奇,深深影响巴赫里Bahri对于织品兴趣,骤逝的父亲令她陷入孤立沉默、自我怀疑、感觉身体被牢笼所困,而唯有透过将碎片旧布、织补缝合再创造的过程,才找到可以发声的方式。母亲对她是媒材的启发,而父亲意象则反覆出现在她的创作内容中。她曾表示:「我运用衣服和布料做为沟通的语言,解放它们包装身体的功能。」织布,有温度的材质,衣物作为遮蔽身体的物件,与个人肌肤有著最亲密的接触,一旦新衣穿过之后,就不再是全新状态,个人的心智状态与情绪,都会在衣物上留下时间痕迹,它是自我私密的对话,同时也是个人对外标志著自我于社会中的形象。

巴赫里Bahri善用手工缝製方式,与收集来的织布长时间相处,发掘纤维的细节,通过天然的棉、麻、毛料材质,选择白色、或中性色彩呈现,认为艺术通常呈现生命中较沉重的层面,使用中性色彩可以不被愉悦或悲伤的情绪干扰影响,可以解放禁锢的身体,跳脱自我设限的困境,进而创造独一无二的生命故事。以织线为画笔,创作探讨当下社会群体的限制(Limitations)、秩序(Restrictions)、期待(Expectations)、孤立(Isolation) 等议题,藉由现成物的混乱、被抛弃、瑕疵、腐朽、不完美的重新诠释再造,提供观者跳脱自我圈圈,立于客观位置反思记忆经验,从这样的位置激发「过去我是谁」、「未来我是谁」、「我可以成为谁」的自我对话、思辨认知和妥协的过程。

二十世纪的织品艺术(Textile Art),艺术家运用纤维的韧性及织物连结身体的亲密感,表现自身的立场,并与传统的编织工艺做出区隔。德裔美国艺术家安妮・亚伯斯Anni Albers, 是第一位打破艺术与工艺界线的艺术家,她利用织品纤维的特性让天然材料、合成线、金属塑料融入挂毯作品,研究画面的几何佈局与画面平衡,美国艺术家茱蒂丝・史考特Judith Scott以织品缠绕包裹作品闻名,创造一系列的日常生活的物件,钥匙、塑胶管或购物车,线性围绕状态暗示著仪式与游戏的过程。当代日本艺术家塩田千春 (Shiota Chiharu),以毛线及现成物组成的装置艺术,带领观众体验人生的旅途,并将死亡的恐惧完整记录下来。卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri的作品,则有别于将编织作为个人生命的经验再现,以旧布痕迹、手工缝线、缝合时间碎片,对抗社会共同体价值观对单一个体影响,有著更为深刻细腻的诠释。

作品 Circus (2017) 记忆中父亲工作的既是小丑装,也是马戏团帐篷,勾起人前欢乐人后悲苦、笑中带泪的共感经验。作品Inception (2016)选用旧麻布袋缝线缝製而成,暗喻著怀胎过程的辛苦与新生的喜悦。作品Sleep tight (2014)将衣物束缚在盒中,一方面呈现身体受包裹的安全感,一方面也形成限制身体的无形框架。作品 General People (2013)则用各式不同的衬衫及外套组合的群体,表现社会集体的心理状态,看似可爱的造型背后隐含质疑的反差。大型集合装置Garment Bags (2016),由80件衣架衣袋组合,向著同一个方向整齐排列。人们对于什麽时期应该做什麽事有著共同的观点,进而触发某种期待亦是限制,表现其实人都害怕被孤立,也为符合社会期待而遵守秩序。

卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri使用织品Textile art 作为说故事的媒介,表面上操作著破布、织品、织线、碎片等混乱的元素,实则深入解剖衣物痕迹感受的记忆温度,与深刻的内心世界所隐藏的心理状态,透过创作呈现喜怒哀乐情绪的人性微缩,她的艺术是批判性的和解,同时也是对于灵魂深处的关怀。

Press

学术评论 Art Critique


衣服与我们每个人息息相关,也和我们的身体有著亲密接触。纺织品具有不同程度的柔软度,但它们必须是舒适的,且具有可随身体摆动及适应的特性。然而在Kari Anne Helleberg Bahri 的织品雕塑中,衣服已经僵硬、身体也消失了,却往往留下清晰的印记。凸出的衬衫和夹克在几件作品中反覆出现,不是直接放置在地上、底座上,就是放在牆上,重複的形体通常以米色或白色等中性色彩呈现,然而即使它们是日常生活中熟悉的物件,却也给人一种不合时宜的感觉。“Das Unheimlich” (诡异)是精神分析学家西格蒙德·佛洛伊德用来解释对熟悉和亲切的事物感到不安的感觉,而这可以用于Bahri 多数的作品上,也反映在他所表现的主题中。

身心健康是Bahri 多年来一直致力于研究的主题。透过“服裝般”的雕塑、假肢雕塑和织品装置,她以艺术指涉从严重精神疾患到形塑我们行为方式的文化社会结构等议题。她关注人际关係、规范和规则如何限制、塑造我们,她将限制描述为她艺术实践的触发因素,并以防止移动的衣服及类似假肢的物体来呈现生理或心理的限制 —— 可能来自自身或社会。透过她的雕塑实践,Bahri 审视了社会环境、人类同胞或社会规范限制或瘫痪个人的案例,关于与众不同及遵循规范的差异。

在Bahri 的作品中,观者能感受到一个人在各种情况下的想法和感受,例如思考身份、存在、找到自己的定位、不确定性、压力和混乱,同时也有乐观、幽默及归属感。展场内展现的并非有趣的事物,Bahri 宁可强调那些疲惫、悲喜交织的日常,她的作品视觉化了一个人的日常生活组成,是非常真实且私人的,根据她所聚焦的情绪状态,创作出服装般的形态或材质。

我们所穿著的衣服构成私领域与公领域的界线,介于个人与外部世界之间。儘管织物轻薄而易碎,但它们构成了重要的界线和保护。相较起其他事物,这种内部和外部的边界感在她的创作中可以被清楚识别,她以粗缝线将袖子与衬衫缝合,再把几件衣服缝製成无法辨认的雕塑,组合并转化为奇怪的突变。

织品雕塑可以依附在金属架构上或在玻璃橱窗中展示,以在更大程度上创造或跨越内部和外部结构之间的界限。如同Louise Bourgeois 的「细胞」系列作品,Bourgeois 以她个人背景创造複杂的心理装置去探讨心理、女性成就、身体或生活条件之间的关係。而Bahri 则对这些主题有更多社会学方法,藉由将安全感、不安等情绪放入各种形式的边界感中,她创造了挑战并反思人类基本经验的艺术。

撰文者:馬爾特・丹尼爾森・約爾博 Marte Danielsen Jølbo

知名藝術策展人、作家。被任命為挪威國家藝術機構 KORO 的策展人。

Clothes are something everyone has a relationship with and which is intimately connected to our bodies. Textiles have different degrees of softness, but they must be comfortable and characterized by being mobile and adapting to the body they surround. In Kari Anne Helleberg Bahri’s sculptural clothing objects, the clothes have stiffened and the bodies are absent, but they have often left a clear imprint. Bulging shirts and jackets recur in several works, placed close together either directly on the floor, mounted on a pedestal or on the wall. The repetitive shapes are typically kept in light colors of beige and white, and even though they are objects we easily recognize from everyday life, they give a feeling of unheimlichkeit. “Das Unheimlich” is an expression the psychoanalyst Sigmund Freud used to explain a disturbing feeling of unease at things that otherwise feel familiar and homely, and this can be said for much of Bahri’s art and which is also reflected in the themes she deals with.

Mental health is a subject that Bahri has worked on consistently for many years. Through “clotheslike” objects, prosthetic sculptures and textile installations, she processes everything from serious mental disorders to cultural societal structures that shape the way we behave. Bahri is concerned with how interpersonal relationships, norms and rules limit and shape us. In this work, she describes restrictions as a triggering factor for her artistic practice. Physical limitations are actualized through items of clothing that prevent mobility and constructed prosthetic-like objects. The restrictions in the objects can also mirror psychological restrictions – implemented either by oneself or by the society around one. Through her sculpture practice, Bahri investigates cases where the social environment, fellow human beings and society’s norms limit or paralyze individuals, it is about being different versus following norms.

In connection with the exhibition “I dress /ergo am I?” at Akershus Art Center in 2018, one could read “Bahri’s clothesobjects describe thoughts and feelings that a person can have in various situations, such as pondering identity, existence, finding one’s place, uncertainty, pressure and chaos, but also optimism, humor and finding ones place. The highlights are not given space in this room, Bahri rather highlights the more tired, everyday and tragicomic that life after all primarily consists of. The objects visualize components of a person’s life, unpolished and personal”. Based on the human situations Bahri works with, she creates works of art that are clothing-like in form or material.

The clothes we wear constitute a boundary between the private and the public, “(…) between the individual and an external world. Despite the thin, fragile nature of the textiles, they constitute a significant boundary and protection” (Bahri). This boundary between the inner and the exterior can be seen, among other things, in the way Bahri treats the textile itself, with large coarse stitches, she sews shirt sleeves to the body of the shirt, she sews several garments together into unrecognizable sculptures, assembles and transforms cloth into strange mutations.

The textile sculptures can be attached to hard steel structures or exhibited in glass vitrines to create or cross boundaries between internal and external structures to an even greater extent. Thoughts quickly turn to Louise Bourgeois and her series of cell installations. Where Bourgeois used her own personal background to create complex psychological installations that dealt with relationships between the psyche, women’s work, bodies and living conditions, Bahri has a more sociological approach to these subjects. By putting the safe and the disturbing into play through various forms of boundary situations, Bahri creates art that challenges and opens up for reflection on elementary human experiences.

Kari Anne Helleberg Bahri (born 1975) has an education from Oslo Academy of the Arts, Department of Clothing and Costume. She has also studied aesthetics at the University of Oslo and art at the Interdisciplinary Art Institute (Bærum). Recent exhibitions include “I dress /ergo am I?” at Akershus Art Center and part of the Kunstvisitten tour (2018), “Uncontaminated” 2017 – art and fashion festival at Mellomstasjonen, National Museum in Oslo (2017), “Constraint were placed on the circulation of clothing” at Oppland Arts Center (2016), “Inside – Extra” at Buskerud Kunstsenter (2016), “Close(d)” at Bærum Kunsthall (2015) and “Needless” at Trafo Kunsthall (2015). Bahri lives and works in Kongsberg, Norway.

撰文者:Marte Danielsen Jølbo

Marte Danielsen Jølb is a curator, writer, editor and art mediator.She has recently been appointed curator at KORO in Oslo.

触觉叙事

by Gunhild Horgmo

近几十年来,我们见证了织品艺术的蓬勃发展。传统艺术在近年得到越来越多的关注,这个趋势的崛起也与80年代以概念艺术为特色的风格形成强烈对比。织品艺术通常被认为是女性化的,因为这个媒材与针线活或服装密切相关。然而,在 Kari Anne Helleberg Bahri 的作品中,这个柔软的媒材被作为一种思考模式,并扩展了对于艺术形式的理解框架。织品不再仅限于柔和的线条和光滑的表面,而是质朴、反审美的表现方式,将找寻到、收集而来的布料重新创作成新的织品艺术,对于艺术家而言,贴近身体的服装或布料象徵人类,在过程中,她的织品艺术创作也成了人类历史的叙事载体。她将明亮、轻盈的布料与粗糙织物缝在一起而形成强烈对比,布料上的补丁和缝线成为生命中可见的痕迹。它是关于个体的不朽和限制,以及远离在无形之中我们所遵循的社会模式,也是关于担心失败及脱离主流社会的心理恐惧(如:失去工作、养不活自己等等)。在展览中,织品艺术创作被装裱在大型木头结构中作为单独的画面,以述说人生中的重大事件。这个装置如同一个视觉构图,带你踏上从出生到死亡的旅程。透过织品雕塑的形状及布料的触感,以艺术作品讲述了你的过去、现在及未来。

撰文者:Gunhild Horgmo 冈希尔德·霍格莫

Gunhild Horgmo 为知名艺术评论家及作家,她拥有奥斯陆大学的艺术史学士学位,曾在KUNST、Billedkunst、Kunstforum、Kunsthåndverk、scenekunst.no等挪威主要艺术杂志及网站发表文章,并于2010年起成为挪威报纸媒体Telemarksavisa 的专栏艺术评论家。

Tactile narratives

by Gunhild Horgmo

In recent decades, we have witnessed a flourishing of textile art. The traditional art form has also been the subject of increased interest in Norway. This tendency has arisen as a contrast to the conceptual approach that has characterized art from the 80s. Textile art has often been considered something feminine, because the material is so closely linked to needlework and clothing. In Kari Anne Helleberg Bahri’s works, however, the soft material is used as a medium in an idea-based way of thinking, and expands the framework of understanding for the art form. Instead of soft lines and smooth surfaces, the expression is rustic and characterized by an anti-aesthetic. The material is found and collected, then processed into new textile objects. For the artist, clothing and textiles close to the body represent the human being, and in the process she creates clothing objects that become narrative carriers of human history. The bright, light materials are contrasted with coarse fabrics sewn together with a strong needle. The patches and stitches in the fabrics become visible signs of life lived. It is about immobility and restrictions for the individual, and moving away from the template we must adapt to. About the fear of falling and falling out from the society ( if you exe: loose your job, you can`t provide for yourself and so on ). In this exhibition, the textile objects are framed in large wooden structures. As separate tableaus, they tell about important events in human life. As a whole, the installation is a visual composition that takes you on a journey from birth to death. Through the shape of the textile sculptures and the tactility of the material, the works say something about who you were, who you are and who you can choose to become.

撰文者:Gunhild Horgmo

Horgmo has a bachelor’s degree in art history from the University of Oslo and freelances as an art critic and writer. She has published in, among others, KUNST, Billedkunst, Kunstforum, Kunsthåndverk (the main artmagazines in Norway) and scenekunst.no, contributed to the book about Seljord og sogene, and was a regular art critic in Telemarksavisa from 2010 and more.

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