ShanghART Singapore is pleased to present, Unpacked, a solo exhibition by internationally-renowned performance artist Melati Suryodarmo. The exhibition opens on 7 January 2023 and runs through 12 March 2023.
The exhibition features independent curator Kimberly Shen as she engages Suryodarmo in dialogue, culminating in an exhibition introductory piece:
Unfolding through two performance lectures in a series of poetic actions and provocations, the artist unpacks from a suitcase dispatched from her home in Germany, the objects, relics and fragments of her past performances. The gallery space evolves through the performance lectures and is embodied by these objects, in a reconciliation of love, delusion, tragedy and the human condition.
The performance lectures revisit a selection of Suryodarmo’s performances from the past two decades and unfold first in an ode to love, and secondly, a political lament. As tools to examine and scrutinise aspects of our existence, “objects are witnesses to the people who live with them”, says Suryodarmo. As the artist performs and responds to these objects in a different time and context, they become displaced from their original meaning and intention, alluding to the ways we arrive and depart, move and shift through this transitory world.
Sketch of the exhibition designed by artist Melati Suryodarmo
苏若道默指出，“爱”揭示了人类对于存在最基本的条件。在第一场演讲中，艺术家将利用关于爱情的陈词滥调和俗套的特质，讲述了爱情中的快乐和光芒，并且把与美好共存的莫名绝望、疏远、自我放弃和自我否定相融合。在《温柔地爱我》(Love Me Tender)（2001年）中，她一边唱着同名的猫王金曲，一边慢慢地为黑色的气球充气，引导观众一起感受等待气球爆裂的紧张和期待。同样，她早期与奥利弗-布洛梅尔的合作作品是关于爱、恨和命运的交错。作品概念受到奥地利艺术家埃贡·席勒（Egon Schiele）的生活和爱情故事的启发，苏若道默和布洛梅尔在一个鲜艳的红色背景前和导师玛丽娜-阿布拉莫维奇(Marina Abramovic)所创造的架子上慢动作移动，他们在《科摩多档案》(The Komodo Files)（2005）中探索男女关系中细微的肢体语言。这些爱的矛盾在他们的合作行为艺术作品《关系中的畸形伦理1.0》(Deformed Ethic of a Relationship 1.0)和《关系中的畸形伦理2.0》(Deformed Ethic of a Relationship 2.0)（2005）中被进一步记录，演绎了一段关系的逐渐解开和逐步瓦解。艺术家也在《可见的未完成行为》(Visible Undone Behaviour) (2005)中传达了这种对自我和他人之间的内省。她用一架双筒望远镜观察她的观众，并写下她对他们的直接的印象。偷窥的行为暗示了一个疏离和肤浅的社会; 我们陶醉于监视与被监视。
Love, notes Suryodarmo, uncovers the most existential conditions of being human. In the first performance lecture, the artist employs the cliches and kitsch qualities of love, in a narration of love in all its joy and radiance, compounded by its inexplicable despair, alienation, self-effacement and denial. She sings the iconic, Love Me Tender (2001), as she slowly pumps black balloons, luring the audience into the surmounting tension and anticipation of the balloon’s eventual explosion. Similarly, her earlier collaborations with Oliver Blomeier are sequences about love, hate and fate. Inspired by the life and love story of Austrian artist Egon Schiele, Suryodarmo and Blomeier move in slow motion against a stark red backdrop and on a shelf created by mentor Marina Abramovic, as they explore the subtle physical gestures based on a relationship between man and woman in The Komodo Files (2005). These contradictions of love are further documented in their collaborative performances, Deformed Ethic of a Relationship 1.0 and Deformed Ethic of a Relationship 2.0 (2005), in a gradual unravelling and progressive disintegration of a relationship. This introspection between self and others is conveyed through Visible Undone Behaviour (2005) as Suryodarmo observes her audience through a pair of binoculars, and writes her personal and immediate impressions. The act of voyeurism hints at a society that is disengaged and superficial; that we revel in being watched and unwatched.
图片麦拉蒂·苏若道默 Melati Suryodarmo_I Put a Spell on You
2009_现场行为表演 performed at the river in Hildesheim
Photo: boris Nieslony
苏若道默一直在与她的文化环境打交道，从传统爪哇仪式中具有象征性的姿态和充满情感的仪式到日本的舞踏。苏若道默以穿越东方和西方的实践而闻名，她第二次演讲将揭示个人和文化政治中的裂痕和不满。她在《巡航控制》(Cruise Control)（2007年）中不断地奔向位于印尼梭罗的一面土墙，通过一遍遍的肢体碰撞对人类行为、重复和常规进行研究。《种子》(The Seed)（2008年）在西欧首次演出，艺术家穿着浅色的丝袜，里面装满了亚洲常见的黑芝麻。黑色的种子沿着她的腿形成了怪异的岛屿状图案，让人联想到一个在文化和社会上流离失所，需要救赎的痛苦身躯。
Suryodarmo has consistently engaged with her cultural environment, drawing from the symbolic gestures and affective actions grounded by traditional Javanese rituals, to Japanese butoh. Known for a practice that traverses the East and West, Suryodarmo’s second performance lecture reveals the fissures and disenchantment within personal and cultural politics. The durational performance of Cruise Control (2007) sees the artist running and jumping into a wall of earth in Solo, Indonesia, in a study of human behaviour, repetition and routine. The Seed (2008), performed in Western Europe, observes the artist wearing light-coloured pantyhose filled with black sesame seeds commonly found in Asia. The black seeds form grotesque island-like patterns of dark grey along her legs, recalling a body that is culturally and socially-displaced – in agony and in need of salvation.
The performative-objects represent poetic actions – spontaneous and abstract – as Suryodarmo intimates, much like the vibrant forms of a Wassily Kandinsky painting. In weaving her past performances, these objects function as personal anecdotes, inhabiting and punctuating the gallery space as the lectures unfold, prompting profound and visceral encounters to Suryodarmo’s artistic oeuvre and somatic practice.
Kimberly Shen, December 2022
Related Artists: MELATI SURYODARMO 麦拉蒂·苏若道默