关于艺术家 ABOUT ARTIST

爱丽丝·克雷舍尔（Alice Creischer)，1960 年出生德国的盖罗尔施泰因（Gerolstein），毕业于杜塞尔多夫大学的德语文学和心理学专业，以及杜塞尔多夫艺术学院。作为九十年代德国政治艺术运动的重要人物之一，克雷舍尔为大量的集体项目，出版物和展览做出了贡献。她的艺术实践和理论作品致力于经济学和体制批判，近期的关注点则集中在资本主义和全球化的早期历史上。她曾多次担任过重大展览项目的联合策展人，比如 1995年的Messe 2ok，2004年的ExArgentina，2010年组织了来自全世界20多位艺术家在西班牙、德国和玻利维亚策划了展览：“坡托西逻辑”（The Potosi Principle）。她也发展出一套特殊的策展实践，这也与她作为艺术家和评论家在档案研究上广泛的实践相关。她参与了众多个展及群展包括：《在猎食者的胃里》，柏林KOW画廊（2014）；柏林世界文化宫（2010）；第十二届卡塞尔文献展（2007）；《最伟大的幸福主义党派》，维也纳的分离派展馆（2001）等。

Alice Creischer, born in Gerolste in(Germany) in 1960, studied Philosophy, German literature and Visual Arts in Düsseldorf. As one of the key figures of German political art movements in the Nineties, Creischer contributed to a great amount of collective projects, publications, and exhibitions. Her artistic and the oretic agenda within institutional and economical critique has evolved over 20 years, more recently focusing on theearly history of capitalism and globalization. As co-curator of such paradigmatic exhibitions like Messe 2ok (1995), ExArgentina (2004) and The Potosi Principle (2010), Creischer has developed a specific curatorial practice that correlates with her work as an artist and theorist, including herextensive practice in archive research.She has taken part in many exhibitions：In The Stomach Of The Predators, KOW Gallery, Berlin（2014）, Haus der Kulturen der Welt, Berlin (2010); Documenta 12, Kassel (2007); The Greatest Happiness Principle Party, Secession, Vienna (2001).

安德烈亚斯·西克曼  (Andreas Siekmann)，1961 年出生于德国哈姆（Hamm），毕业于慕尼黑大学历史和艺术史专业，以及杜塞尔多夫艺术学院，他长期致力于公共空间的艺术，后来更多关注自我组织和合作艺术实践。他主持和参与了非常多的展览项目的策划，他的众多作品都反映了新自由主义时代的经济、权力结构和工人的状况。他参加过的部分个展及群展包括：明斯特LWL美术馆（2016）;科隆路德维希美术馆（2012），明斯特雕塑展（2007），第十一届（2002）和第十二届卡塞尔文献展（2007），第50届威尼斯双年展（2003）等。

Andreas Siekmann was born in Hamm (Germany) in 1961, studied History and History of Art at the University of Munich, and at the Kunstakademie Düsseldorf. The main focus of Andreas Siekmann’s work is on the changes taking placein our society and the impact of globalisation and the shifting of economic responsibilities.He deals with the commodification and the processof economization and privatization of public urban space. He has taken part in many exhibitions: LWL Museum für Kunst und Kultur,Münster (2016); Museum Ludwig, Cologne(2012);  Documenta XII (2007); Skulptur ProjekteMünster 07, Münster(2007); 50th Venice Biennale, Venice (2003); Documenta XI , Kassel (2002).

关于分享者 ABOUT SPEAKERS

周霄鹏，1985年生于广州，毕业于广州美术学院和德国柏林白湖艺术学院，现生活和工作在柏林。

Zhou Xiaopeng, born in 1985 in Guangzhou, studied at Guangzhou Academy of Fine Arts and Weißensee Kunsthochschule Berlin. Now lives and works in Berlin.

唐菡，1989年生于广州，毕业于广州美术学院，目前德国柏林艺术大学研究生在读，生活和工作在柏林。

Tang Han, born in 1989 in Guangzhou, studied at Guangzhou Academy of Fine Arts and Berlin University of the Arts. Now lives and works in Berlin.

种子霸权让大自然在猎食者的胃里相遇……
Nature meets itself in the stomach of the predators...

2018年1月5日 周五 19:30
2018.01.05 Fri. 19:30

“在猎食者的胃里”是德国艺术家爱丽丝·克雷舍尔（Alice Creischer)和安德烈亚斯·西克曼(Andreas Siekmann)以种子垄断为主题的共同合作项目。自2012年起他们就此创作了一系列的图画，并对坐落于北极圈内距离极点1000多公里的山体中的“斯瓦尔巴德全球种子库”展开了研究。作品分为两个部分，分别以绘画、戏剧和电影的语言探讨了先进资本主义的掠夺性逻辑。

这个种子库于2008 年开始运作，其声称的宗旨是为了挽救世界种子资源。但种子库的赞助者们包括了比尔盖茨基金会、先正达和先锋公司，也引起了两位艺术家的警惕。由此，他们的研究就拓展到了种子库和慈善－资本家们，又延伸到全球农业垄断的历史。在他们看来，这个历史不仅是资本主义经济的历史，同时也是对大自然进行没有限度地控制和剥夺的历史。这也是一个灾难史，是凶手利用灾难的发生来形成新的需求和生产力的过程。

他们所采取的绘画方式由维也纳图形统计研究所（Vienna Institute of Graphical Statistics）最先使用，其在1920 年代和1930 年代，在德国工人和苏联工人教育中发挥了重要作用。这种方式结合了绘画和主题分析，综合勾画了政治和经济的关系。这样的一幅画可以用巨幅画板来展示，填满某个公共空间。这种图形统计方式是那个时代德国和苏联国际工人运动中对工人进行政治教育的重要手段。

克雷舍尔和西克曼同时作为艺术家，作家，策展人，他们的艺术实践跨越于不同的群体背景，以不同组合方式来构成自己的展览，因而作品很难定义为某个被归类的角色。例如克雷舍尔一直以来为诸如Texte zur Kunst和Springerin等艺术期刊写作，她的艺术和理论工作的中心主题是揭示政治，商业和文化的进程和阴谋。而西克曼的作品则更多地反映了新自由主义时代的经济、权力结构和工人的状况，也讨论了公共城市空间的经济化和私有化进程。

此次分享会将会介绍两位艺术家的项目并放映爱丽丝·克雷舍尔的录像作品，希望能激发讨论和提出问题，用他们的话来说就是“把一些貌似事实的东西给推翻”。在当代艺术被新自由主义层层包裹着的当下，作为艺术工作者如何对碎片式的信息进行重新归纳和整合，并提供一种新的可能性，以及针对当代现状的种种如何作出思考和判断。




In the Stomach of the Predators, a project collaborated by Alice Creischer and Andreas Siekmann, explores the predatory logic of advanced capitalism. Stemming from their joint research in the last several years concerning the privatization of the commons through the cases of seeds, land rights, and intellectual property, these two distinct bodies of work employ the methods and languages of theatrical and filmic stagings (Creischer) and pictorial tableaux (Siekmann).  

Alice Creischer and Andreas Siekmann live as artists, writers and curators in Berlin. Their artistic practice can hardly be defined on the basis of an ascribed role, because they work in different group contexts that are variously composed or realize their own exhibitions. Creischer also writes for art journals such as Texte zur Kunst and springerin. The central theme of her artistic and theoretical work is revealing processes and machinations in politics and business and their culture. Andreas Siekmann is an artist whose work discusses the process of economization and privatization of public urban space.

Siekmann takes us to the Norwegian island of Spitsbergen where the Svalbard Global Seed Vault, a project set up to “protect” all existing agricultural kernels in the world from eventual extinction, is based. We learn, however, that the seed bank is financed by the very same corporate lobbies that exercise interests and practices that threaten crop diversity, including, among others, genetic manipulation. These entangled complicities are uncovered through large movable panels with pictograms, reminiscent of the vocabulary developed by science philosopher and political economist Otto Neurath in cooperation with artist Gerd Arntz, who was a part of an anarcho-syndicalist movement in the 1920s in Cologne and Berlin, developing graphic icons specifically for proletarian agitations. The ordered, systematic, and meticulously structured succession of signs, symbols, and their visualized interconnections draw an alarming relational map of the economic and political aspects of biodiversity’s transfer into private hands that so accurately defines our global present.

Creischer’s work contains a cast of a number of whimsical, symbolically charged animal figures—the wolf, the hyena, the bear, and the jackal—each of them representative of a particular form of monopolization of what once was the common good. The animals are sent on a journey from Spitsbergen to Benin and Istanbul, during which they encounter situations that seem absurd and at times outright grotesque. Such surreal scenes are continuously stabilized, however, by an undercurrent of real gravity as the characters delve into the disquieting workings of the neoliberal condition. The creatures are emblematic of, and personify, acquisitive greed paired with injustice and devastation; through them multiple scripts unfold, delivered in a variety of vernaculars, at once resembling the Chaplinian slapstick handlings of despair and the theatrical experimentations of Bertolt Brecht. While addressing the apocalyptic questions of global gene pool heritage, land grabbing, the devastation of natural resources, and the fantastical “science” of financial speculation, art itself—and its possibility to counter systemic violence of such amplitude—is not spared questioning. Though the work tests art’s subversive potential, its complacency in the face of the flows of capital surfaces at least as often as the paradoxical meaning of survival in an era of human-engineered catastrophes.