HOW新展预告 | 乌雷Ulay：无量之物
乌雷·无量之物
Ulay：The Great Journey
展期：2022年11月13日-2023年03月12日
艺术家：乌雷
策展人：来梦馨、哈娜·奥斯坦·奥日博尔特
地址：昊美术馆（上海）二楼，上海市浦东新区祖冲之路2277弄1号
主办：昊美术馆
联合主办：乌雷基金会、马刺画廊
展览支持：AAC基金
*Please scroll down for English version.
昊美术馆荣幸地宣布将于11月13日举办德国著名艺术家乌雷（Ulay，Frank Uwe Laysiepen，1943-2020）的个展“乌雷：无量之物”。乌雷是宝丽来摄影、身体和行为艺术的先驱。
展览由策展人来梦馨（Sherry Lai）和乌雷基金会总监哈娜·奥斯坦·奥日博尔特（Hana Ostan Ožbolt）共同策划。本次展览是一次穿越乌雷艺术作品与生活的旅程，关注三个不同的时期：他在20世纪70年代初的艺术活动、他在1976年至1988年间与玛丽娜·阿布拉莫维奇（Marina Abramović）的合作和他在90年代末的个人创作。
乌雷与中国有着长期且深厚的关系，这片广袤和伟大的土地激发他创作了大量作品——它的风景、文化、宗教和人民给予了他一系列作品的创作灵感。本次展览由马刺画廊和乌雷基金会协办。
继秋季北京马刺画廊首次展出乌雷亚洲个展之后，上海昊美术馆将会带给公众更多新的重量级展品。不仅有艺术家乌雷的个人行为艺术代表作品，更有其与行为艺术之母玛丽娜·阿布拉莫维奇共同合作的行为艺术。其中《AAA-AAA》、《时间中的关系》、《静止能量》等代表作，两位艺术家将爱情与作品融合在一起，创作出多起轰动的艺术事件。
展览将持续至2023年3月12日。
乌雷 / 玛丽娜·阿布拉莫维奇
《静止能量》，1980
行为表演录像
16 mm胶片转数字录像，彩色，有声，4分4秒
版权为艺术家所有
图片致谢玛丽娜·阿布拉莫维奇档案、乌雷基金会、
LIMA和马刺画廊
乌雷
《她/他》，1973-74/2022
原始宝丽来照片转数字照片于灯箱
三联，每件130 x 130 x 8 cm
版权为艺术家所有
图片致谢乌雷基金会和马刺画廊
乌雷 / 玛丽娜·阿布拉莫维奇
《情人·长城》，1988
双频录像装置，彩色，无声，15分41秒
版权为艺术家所有
图片致谢玛丽娜·阿布拉莫维奇档案、乌雷基金会、
LIMA和马刺画廊
关于艺术家
摄影：Primož Korošeč
乌雷 ｜ Ulay
乌雷（Ulay，1943年11月30日—2020年3月2日），是宝丽来摄影、身体和行为艺术的先驱。
乌雷，本名弗兰克·乌韦·莱西彭（Frank Uwe Laysiepen），1943年出生于德国索林根，接受过正式的摄影训练，曾在1968至1971年间作为宝丽来公司顾问从事摄影工作，拍摄了大量照片。在艺术活动早期（1968—1976），他主要通过一系列宝丽来照片、警句、视觉诗和具体诗以及私下的行为表演，对理解身份诸概念、个人和群体层面的身体进行了主题性的探索。他的摄影方法变得越来越具有表演性；由此产生了数以百计的自拍照和所谓的“表演性摄影（performative photography）”，并进一步发展出一系列有现场观众的“Fototot”行为表演（1975—1976）。在他早期作品的尾声，摄影这一媒介的表演性倾向彻底转化为行为表演和行动这两种媒介。
1976至1988年间，乌雷和当时的伴侣玛丽娜·阿布拉莫维奇（Marina Abramović）合作。交往12年，他们是20世纪最高产也最著名的艺术伙伴之一。他们一起用前卫的行为艺术开辟了新的天地，将彼此推向新的、甚至更加极端的、无人涉足的领域，创作挑战情感和身体的作品，考验身体和精神的能力，质疑传统的性别气质。凭借“关系”系列、《穿越夜海》、《情人·长城》等行为表演，他们成为行为艺术无可争辩的代表。
与阿布拉莫维奇分手后，乌雷专注于摄影，探索这一媒介和它的边界，讨论当代社会中被边缘化的个人的地位，重新审视民族主义及其符号的问题。不过，尽管主要以摄影为媒介创作，他还保持着与“表演性”问题的联系，不断通过大量合作项目、行为表演、工作坊和表演讲座“挑衅”观众。近年，乌雷主要投身旨在提高意识并增进对水的“理解、重视和感谢"的项目和艺术倡议。
他2014至2017年间的晚期艺术活动在形式和内容上都以粉红色为标志（乌雷的“粉红时期”），由一系列素描、中画幅宝丽来照片和（合作）行为表演组成。
乌雷，以及他与玛丽娜·阿布拉莫维奇合作的作品，被世界各地的艺术机构收藏，包括阿姆斯特丹市立博物馆、巴黎蓬皮杜中心国立现代美术馆、纽约现代艺术博物馆、旧金山现代艺术博物馆、伦敦泰特现代美术馆、维也纳现代艺术博物馆路德维希基金会等。
乌雷：无量之物
Ulay: The Great Journey
Dates: Nov. 13, 2022 - Mar. 12, 2023
Artist: Ulay
Curator: Sherry Lai, Hana Ostan Ožbolt
Venue: HOW Art Museum (2F, No. 1, Lane 2277, Zuchongzhi Road, Shanghai)
Organizer: HOW Art Museum
Co-Organizer: ULAY Foundation, SPURS Gallery
Supporter: Art Algorithm Capital
HOW Art Museum is pleased to announce that the solo exhibition of iconic artist Ulay (Frank Uwe Laysiepen, 1943–2020), a pioneer in Polaroid photography, performance and body art will be on view from November 13, 2022.
Curated by Sherry Lai and Hana Ostan Ožbolt, the exhibition is a journey through Ulay’s life and his body of work, focusing on three different periods: his artistic activity in the early 1970s, his collaboration with Marina Abramović between 1976 and 1988, and his work as a solo artist in the late 1990s.
China is a country with which Ulay had a long-lasting and personal relationship and that inspired a great deal of his oeuvre – highlighting various series of works, which were inspired by China’s vastness and greatness, its landscape, culture, religion and people. The exhibition is co-organized by SPURS Gallery and ULAY Foundation.
Following Ulay: The Great Journey, the first solo exhibition of the artist in Asia at SPURS Gallery, Beijing, Shanghai HOW Art Museum is pleased to present a new show of this iconic artist with the addition of a few new exhibits. The exhibition will feature both Ulay's performance works as well as some of the most-known collaborations between him and his former partner Marina Abramović, including AAA-AAA, Relation in Time and Rest Energy.
The exhibition is on view until March 12, 2023.
Ulay / Marina Abramović
Rest Energy(still), 1980
performance for video
16 mm film transferred to digital video, color, sound
4 Min. 4 Sec.
Copyright the artists
Courtesy Marina Abramović Archives,
ULAY Foundation, LIMA and SPURS Gallery
Ulay
S'he, 1973-74/2022
Digital edition on light box after original Auto-Polaroids
Triptych, 130 x 130 x 8 cm each
Copyright the artist
Courtesy ULAY Foundation and SPURS Gallery
Ulay / Marina Abramović
The Lovers: The Great Wall Walk, 1988
two-channel video installation, color, silent
15 Min. 41 Sec.
Copyright the artists
Courtesy Marina Abramović Archives,
ULAY Foundation, LIMA and SPURS Gallery
ABOUT THE ARTIST
Photo：Primož Korošeč
Ulay
Ulay (November 30, 1943–March 2, 2020) was the pioneer of Polaroid photography, body and performance art.
Born as Frank Uwe Laysiepen in 1943 in Solingen, Germany, Ulay was formally trained as a photographer, and between 1968 and 1971, worked extensively as a consultant for Polaroid. In the early period of his artistic activity (1968–1976) he undertook a thematic search for understandings of the notions of identity and the body on both the personal and communal levels, mainly through series of Polaroid photographs, aphorisms, visual and concrete poetry, and intimate performances. His photographic approach was becoming increasingly performative; it resulted in hundreds of self-portraits and the so called "performative photography"(Renais sense series), that further on evolved into a series of Fototot performances (1975–1976) with live audience. In the late stage of his early work, the performative tendencies within the medium of photography entirely transformed into the medium of performance and action (Irritation – There Is a Criminal Touch to Art, 1976).
From 1976 to 1988, Ulay collaborated with former partner Marina Abramović. Their 12-year relationship was one of the most fertile and celebrated artistic partnerships of the 20th century. Together they broke new ground with their pioneering performance art, propelling each other into new, evermore extreme and unexplored realms of emotional discomfort and physical endurance; testing the capabilities of the body and the spirit, questioning perceived masculine and feminine traits. Through their performances (Relation Works; Modus Vivendi; Nightsea Crossing; The Lovers: The Great Wall Walk), they became indisputable icons of performance art.
After breaking with Abramović, Ulay focused on photography, exploring the medium and its boundaries (several large format Polaroids and photograms), addressing the position of the marginalized individual in contemporary society (Can’t Beat the Feeling – Long Playing Record, 1992) and re-examining the problem of nationalism and its symbols(Berlin Afterimages, 1994–1995). Nevertheless, although he was working primarily in photography, he remained connected to the question of the 'performative', which resulted in his constant 'provocation' of audiences through the realization of numerous collaborative projects, performances, workshops, and lecture-performances (among others, Lichaamstaal, a special project for the Boumanhuis Detoxification Center, Dordrecht, NL, 1998). In recent years, Ulay has been mostly engaged in projects and artistic initiatives that raise awareness and enhance understanding and appreciation of – and respect for – water (WATERTOALL, 2004; Waterfonie, 2009; Whose Water Is It?, 2012; Sweet Water Salt Water, 2012).
The period of his late artistic activity between 2014–2017 was marked in both form and content by the colour pink (Ulay’s “pink period”). It consists of a series of drawings, middle-size Polaroids and (collaborative) performances (Code of Conduct, Pink Pain, Skeleton in the Closet, Invisible Opponent).
Ulay's work, as well as his collaborative work with Marina Abramović, is featured in major collections of art institutions around the world such as Stedelijk Museum, Amsterdam; Musee Nationale d’Art Moderne – Centre Georges Pompidou, Paris; MoMA. Museum of Modern Art, New York; SFMOMA. San Francisco Museum of Modern Art; Tate Modern, London; Mumok, Vienna.