Janaina Tschäpe Coverage - Edouard Malingue Gallery

Edouard Malingue Gallery
Sixth floor, 33 Des Voeux
Road Central, Hong Kong
edouardmalingue.com
Janaina Tschäpe Coverage
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8 June 2015
The New York Times Style Magazine
"A Picture and a Poem"
6/14/2016
查普明快⾊调思索景观\⼤公报记者\李梦_⼤公资讯_⼤公⽹
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查普明快⾊调思索景观\⼤公报记者\李梦_⼤公资讯_⼤公⺴
叅兜僈䘯蒀靈䙼程兞錜
-JOLIUUQOFXTUBLVOHQBPDPNQBQFSRIUNM
字体
查普明快⾊调思索景观\⼤公报记着\李梦_⼤公咨询_⼤公⺴
图：查普不愿为艺术设定边界\本报摄
编者按：贾奈娜•查普的个展“思索景观”，正在⻢凌画廊（中环皇后⼤道中⼋号⼀楼）展出，展期⾄五⽉三
⽇。查询可电⼆⼋⼀○○三⼀七。
查普（Janaina Tschape）的故乡在巴⻄，虽然她⻓到⼗多岁才第⼀次回到那⾥。如今在中环⻢凌画廊展出
的“思索景观”（Contemplating Landscape），有⽔彩、装置和剪纸作品，部分灵感即得⾃亚⻢逊河畔⻛光。
⾊彩⼤胆笔法夸张
“回到巴⻄前，我不知道那⾥是什么样⼦。”查普上世纪七⼗年代⽣于德国慕尼⿊，在汉堡的艺术学院接受教
育。她说当时艺术专业的教科书中甚少谈及亚洲和拉美的当代艺术。“你知道，那时但凡提到拉美或亚、⾮洲，
总好像是‘别处’⽽⾮‘此处’的事情。”查普说?耸耸肩。
所以，她⼗多岁时跟随⽗⺟回到⾥约热内卢，⻅到彼处蓬勃的⻛景和鲜活饱满的当代艺术，会惊讶地张⼤了
嘴巴。⽽且，那样⽣动的笔触也影响了她的绘画，她开始⽤更鲜艷的⾊彩和更⼤胆夸张的笔法。譬如今次展出的
与展览同名的《思索景观》，便⽤了天蓝和亮橙⾊等明快⾊调，线条蜿蜒模拟⽔波，令观者恍若置⾝亚⻢逊森林
缈幻朦胧的情景中。
摆放在《思索景观》画前的是⼀件同样⽤⾊鲜艷的装置作品，取名“⼏何图形”（Geometric Shapes）。⼏个
纸质多⾯体堆叠摆放在⼀起，每⾯涂上不同颜⾊。查普说，她上⾊时并不会刻意控制，所以观众会在那些块状物
体表⾯⻅到颜料漫漶流淌的痕迹。“我会任由颜料⾃在流动。”查普欣赏那种在“可控”与“失控”边界游⾛的创作状
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查普明快⾊调思索景观\⼤公报记者\李梦_⼤公资讯_⼤公⽹
态，甚⾄在她那⾥，“边界”或“界限”之类的概念从来都不存在。
“的确，我的创作受到巴⻄当代艺术的影响，但我倾向于不以国家或地区来划分艺术。”她说：“不论拉美、欧
洲或亚洲的艺术作品，内核都是⼀样的。”查普如今住在纽约布鲁克林区，她喜欢那⾥的多元⽂化混杂共融的状
态，“街上⾛?，没⼈当你是游客或外国⼈。”
作品充满感官诱惑
相较于艺术领域中的“异”，查普更看重“同”，以及不同地区不同媒介作品间沟通和互动的可能性。就拿她今
次展出的作品来说，画与画间、画与装置间甚⾄装置与贴?墙⾯蔓延的剪纸作品间，“都可能⽣成某种对话”。那
件名为《Ocean Study Ⅱ》的3D剪纸作品，不像中国传统剪纸那样红彤彤贴在窗户上，⽽是将纸剪成曲线状，上
⾊，再弯曲折绕并松散固定在墙⾯上，好像从另⼀侧墙上画中流出的溪⽔；⽽展厅⼊⼝右侧墙上
《Hydromedusa》和《Dark Sea》中的⼭⽔倒影⼜与展厅另⼀侧关于⼤海的摄像作品遥相呼应。
“⾃然是我⼀向关注的概念。”查普的画中通常不⻅⼈，只是景观的堆砌和拼贴，好像就是她站在⾥约热内卢
郊外⽼房⼦⾥眺望远处森林河流时⻅到的阒寂⼜⼲阔的景致。她和家⼈在⾥约热内卢郊区有座⽼房⼦，每年夏天
他们都回去度假。
“查普的这⼀系列作品都充满感官诱惑，让观众很⾃然地联想到亚⻢逊，或者某个拥有蓬勃植物群的神秘世
界。”画廊负责⼈Jennifer告诉记者。展品的分布及互相呼应，在某种程度上干预了画廊空间，以致展品与空间不
再是“摆放”与“被摆放”的关系，⽽是融合共⽣为⼀整体。
责任编辑：⼤公⺴
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Arts preview: "Contemplating Landscape" melds colours and shapes
27 Mar 2014
South China Morning Post
“Arts preview: ‘Contemplating Landscape’ melds colors and shapes
Link: http://www.scmp.com/magazines/48hrs/article/1454152/arts-preview-contemplatinglandscape-melds-colours-and-shapes
Arts preview: "Contemplating Landscape" melds colours
and shapes
Arts preview:
Vanessa
Yung
“Contemplating Landscape” melds colours and shapes
7BOFTTB:VOH
Tschäpe with Ocean Study II. Photos: May Tse
WE RECOMMEND
CONTEMPLATING LANDSCAPE
Edouard Malingue Gallery
Each year, Brazilian-German artist Janaina Tschäpe spends at least one month with her family in their country
home in Brazil. Keeping in touch with nature fuels the New York-based artist's creativity, she says.
"I don't want to lose those elements - things like making a fire blaze at night, or just walking through the woods
- because they inform so much. It's really essential for my art," says Tschäpe. "The way nature builds things is
organic and incredibly intelligent. There's no way for me to think about work without incorporating that, and
without being in that space."
Tschäpe takes nature as her inspiration; her work explores its patterns, composition, geometrical shapes, and
repetition. Her recent work has focused on depicting her relationship with the natural landscape in a threedimensional form.
For her first Hong Kong solo show, the colourful installation Geometric Shapes (2014) is flanked by two
paintings, Contemplating Landscape (2014) and Dark Sea (2014). Tschäpe says that Contemplating
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6/14/2016
Arts preview: "Contemplating Landscape" melds colours and shapes
Landscape, the show's centre piece, began with just a horizon line.
Then she noticed a relationship between the cubes featured in Geometric Shapes and the other two paintings,
and idea of exploring the distance between the physical body and the horizon began to take shape.
"The cubes appear to be looking at the horizon. It was a very beautiful way to combine the three works," she
explains, adding that standing in between the two paintings is like "waking up with Contemplating Landscape
and going to bed with Dark Sea when the sun sets."
This attempt to visualise the dialogue between 2-D and 3-D representations continues in Ocean Study II
(2014), an installation that shows how lines can literally leap right off the page.
"There's a search for something that is beyond my imagination, and I think that search is what really feeds me
to paint and draw. It's like searching for where can I go and what can I compose with the colours and the
shapes. It's like trying to discover a place that I don't know yet, a kind of exploration. It's navigating through a
universe in which I might find a new island."
Edouard Malingue Gallery, 1/F, 8 Queen's Road Central, Monday-Saturday, 10am-7pm. Ends May 3. Inquiries:
2810 0317
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20 March 2014
Milk Magazine
"CONTEMPLATING LANDSCAPE
"
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JANAINA TSCHAPE
JANAINA TSCHÄPE: NO LIMITS | Turn On Art
http://www.turnonart.com/art/janaina-tschäpe-no-limits
16 December 2014
Turn On Art
“Janaina Tschape: No Limits”
SEE GALLERY
3 HOURS 13 MIN ago
JANAINA TSCHÄPE: NO LIMITS
ARES CASADO
When you first meet Janaina, you realize that not only her work but herself as well, fluctuate between
the fragility of her oneiric unconscious universe, and the exuberant nature of organic and artificial
forms, able to be equilibrated by the delicacy of her poetic gesture and the implicit strength of the
message beneath. Janaina moves and transmits, she inhabits and feels, and she speaks, essentially she
speaks.
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JANAINA TSCHÄPE: NO LIMITS | Turn On Art
http://www.turnonart.com/art/janaina-tschäpe-no-limits
Two worlds coexist and interchangeably interact, the real and the imaginary world, generating an
impulsion just possible within infinity. This distinct way to look at reality, brings the spectator into a world
oblivious to the ordering laws of cause and effect, an ever changing and contradictory world: the inner
world.
This ambiguous dreamful experience is filled with mystery and confusion, enclosing questions about the
rigid and structured reality we live in. It speaks out loud about the subjugation and domination of
identities, revealing firm means of liberation to reach an idyllic and magic universe. It emanates the
possibility of impossible.
Jananina works with video, photography, painting and drawing. She repeatedly mixes a number of
techniques creating a dialog between moving images, the images that she sees or thinks about while
travelling, and the drawings and paintings that treasure up her trips. All of it is inside her mind, when she
prepares an installation or a show.
I met her in her studio of Clifton Place Street in Brooklyn, she had just arrived from Brazil, where she
participated in the group show “Made By… feito por Brasileiros”, located at Cidade Matarazzo in Sao Paulo.
She talked to me, among many other things, about her last work, about her creative process including
various disciplines, and about the role of women within the art world.
Janaina Tschäpe (JT): …The idea was to create a fresco, a painting, and also have video installation in the
same space; the video piece is called “Fern Weh”, which means “longing for distance”. There are two video
pieces that I shot in the Galapagos last year when I was on a trip, and it is in a way, kind of based on… You
know, there was this artist called Bas Jan Ader, a Dutch artist, and the last piece he did before dying was a
research of the miraculous. He took a Little boat in L.A., went into the sea and disappeared. And that was
his last performance. That piece always impresses me so much.
The research of the miraculous, the research of the perfect place, the perfect landscape… So when I was
in the Galapagos and I was filming, and there were all these different islands, and this whole idea of the
discovery, that longing that we have to find something new. It is a research that we all care inside of us. It
was all about that.
“Made By …Feito por Brasileiros”, is a creative invasion that will bring back to life pavilions hallways and
gardens of the old Umberto Primo Hospital, known as Hospital Matarazzo. The exhibition brings new
energy into the old, poetic, building before its refurbishment.
JT: … So I did this video piece in the Galapagos, and then when I saw that place in Matarazzo which was
abandoned for 30 years (It used to be a hospital); I had this big space with this wall that was cracking up
and you saw the layers… I was thinking of the idea that it was where people go with all kind of hopes, so I
just thought that it was interesting to show that video piece, and then when I saw the wall with the layers, I
was interested in discovering the memory of the space, so instead of just painting the fresco on the top, I
just started to take the layers off and create clouds and landscape, so it was a sort of a fresco of a sea
side, a horizon, an ocean in a way which relates again to the videos. And when I installed the video next to
it, it was so beautiful to see, because the horizon of the video was matching with the horizon of the
painting and in a way you looked at the video and you could continue into the painting. So in that sense I
think that the video works in the painting, they have a dialogue.
Ares Casado (AC): I feel that you do not like to be constrained to only one technique.
JT: No, I haven’t!! I’ve been doing even these little sculptures now (cutouts), and somehow, I tried to
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JANAINA TSCHÄPE: NO LIMITS | Turn On Art
http://www.turnonart.com/art/janaina-tschäpe-no-limits
express everything. I want to be free. I am an artist. I feel like I don´t like to constrain myself into only one
technique. I like to keep all of them open because there are all these different ways of expression. I am
always curious to expand. These cutouts I am doing now, they come in a way of painting. To break my own
patterns of work is one thing I like to pursue. You can move on and discover something else. I really need
to do all these things. It is really nurturing for my work.
AC: Transformation, desire, myth, sex, nature, are constant themes in your world. In your earlier works
you were using your own body to search for an identity, then you started using other females bodies,
other muses in your work to include more information, different movements, gestures and dialogues.
What about men? What is the role of men in Janaina’s work
JT: In my experience, working with men is very different. I did work with men and it was really different.
First there is a different intimacy, there is a different way of communication. With a woman I have more
freedom. Guys are generally a little bit more vain in the way of how they want to be represented. It is a
complete different universe. I think I am interested in maybe continuing doing some video pieces with men
because I realize how different it is.
AC: So you already did work with men…
JT: Last year I did a trip to the Amazon. I went with a friend of mine, we have been friends for a long time,
he is a biologist. We were playing with this fictional idea of us traveling together in the Amazon, like a
discovery trip, like ancient trips where scientist and artist were going together and the artists were
illustrating what the scientist researched. This was very different from what I was doing and it was very
interesting. There are some scenes where he appears in the video, but he has outfits on, it was interesting
to start expanding again my work.
AC: Tell me about your experience participating in the group Total Art: Contemporary Video, taken place
this year at the National Museum Of Women in the Arts of Washington, which presents pioneering
women artists working in video art in the 60s and 70s.
JT: I think it was very important for my work in the last years, to be very strong and very clear about the
fact that I am a female artist working about the female body. Male artists always work with themselves in
performances and it is not like they are making a statement about being a guy. So I just work now. It is not
about having to make a statement because I am a woman. I just want to be known as an artist. Period. And
that it is so hard because once you do things as a woman you already have this controversy, and I wish
someday this will disappear, but it is still an issue. Why do we have to be separated? It is important to get
the attention first, so it is something that people get to know and see before it can be integrated in the
general art. It is the same with female artists. I think it is time, it is being a while and it is still and issue.
And if you see the art market in general it is still unbalanced. If you really pay attention and you make
numbers, it is unbalanced. We still have to talk about it until we won’t need to point our fingers anymore. It
is important that we have this space in this Museum for Women, to have enough attention, but it shouldn´t
be this way. But as long as we need to do it, we need to do it…
JANAINA TSCHÄPE, Art
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2015
FFMAG
Interview—Janaina Tschape
Cortesia Fortes Vilaça
Janaina
Tschäpe
Videoinstalação Fern Weh, 2014
Marcos Guinoza
Alex Batista
C
Janaina Tschäpe em frente à
obra que apresentou na exposição
Made By... Feito Por Brasileiros
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“Eu cresci numa geração que
já achava que todos éramos
iguais, até eu perceber que não
era verdade. Eu não tento fazer
uma arte feminista, mas ser
uma artista mulher”
Cortesia Fortes Vilaça
JANAINA TSCHÄPE
The Ghost in Between,
AlMA de fAzendeirA
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Four Seasons (Winter, Spring, Summer, Autumn), 2014
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JANAINA TSCHÄPE
Cortesia Fortes Vilaça
JANAINA TSCHÄPE
Detalhe da instalação Fern Weh, parte da
exposição Made By... Feito Por Brasileiros,
na Cidade Matarazzo, em São Paulo
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Cortesia Galerie Xippas
JANAINA TSCHÄPE
Acima e na página ao lado, The Ghost in Between, 2013
—
JANAINATSCHAPE.NET
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