在疫情的影响下，第59届威尼斯国际艺术双年展推迟了一年，在2022年4月23日正式拉开帷幕。
After a year of postponement due to the COVID-19 pandemic, the 59th International Art Exhibition of La Biennale di Venezia kicked off on April 23, 2022.
梦之乳
The Milk of Dreams
此次双年展的主题为“梦之乳”，它的灵感来源于Leonora Carrington的一本书，这位超现实艺术家描绘了一个奇妙梦幻的世界，通过想象的棱镜来不断地重新构想生活。这是一个每个人都可以改变、被改造、成为某物或者其他人的世界。“梦之乳”将他的超凡脱俗的生物以及其他变形人物作为同伴，一起踏上一段穿越身体变形和人类定义的想象之旅。
The Milk of Dreams, the theme of the Exhibition, takes its title from a book by Leonora Carrington (1917–2011), in which the Surrealist artist describes a magical world where life is constantly re-envisioned through the prism of the imagination. It is a world where everyone can change, be transformed, become something or someone else. The Exhibition The Milk of Dreams takes her otherworldly creatures, along with other figures of transformation, as companions on an imaginary journey through the metamorphoses of bodies and definitions of the human.
From 2022 Venice Biennale
本届威尼斯双年展试图开展一场对话，探讨个人与的地球之间的新的可持续的关系。
This Biennale seeks to initiate a dialogue about a new and sustainable relationship between human and the planet.
女性的力量
Women Power
From 2022 Venice Biennale
本届威尼斯双年展创下了自2005年以来的参展人数新高，一共有58个国家的213位艺术家参加，最值得关注的是，此次参展所有的艺术家中，仅有21位是男性，其余192位都是女性，占比首次突破90%，这些数据是具有突破性且鼓舞人心的意义。双年展也因此有了更细腻柔和、更富有情感的视角去观看世界、生命与自然。
The number of participants in this Edition reached a new high since 2005, with 213 artists from 58 countries. Most notably, of all participating artists, 21 are men while 192 women, exceeding 90% for the first time. These figures are groundbreaking and inspiring. It thus has a more delicate, soft and emotional perspective on the world, life and nature.
我们也迎来了威尼斯双年展历史上的首位女性策展人--塞西莉亚·阿莱曼妮( Cecilia Alemani )。Cecilia的愿景是将女性艺术家置于舞台的中心，本届展出的作品也因此贴上了展览的批判性思想的标签。
Cecilia Alemani, the first female curator in the history of Venice Biennale, hopes to put female artists at the center of the stage. The works on display are thus labeled as critical.
罗伯托·西库托（President Roberto Cicutto）对Cecilia的展览方案感到惊喜，因为它反映了我们这个时代丰富的创造力。他期望我们都可以沉浸在Cecilia构建的全新世界，或许这是一场梦，但这正是本届双年展的魅力所在。
President Roberto Cicutto was pleasantly surprised by Cecilia’s exhibition plan, because it reflects the richness of the creative force of our time. His wish for the 59th International Art Exhibition is that we can all immerse ourselves in the “re-enchantment of the world” that Cecilia evokes in her introduction. Perhaps this is a dream, which is another of the constituent elements of this Exhibition.
From 2022 Venice Biennale
如今在艺坛崛起的女性力量，已然成为了一个不容忽视的现象，更多的女性艺术家走进了大众视野，受到更多美术馆、画廊和藏家们的关注。女性正在从“画里”走到“画外”，逐渐获得了话语权。
Cecilia说“我意识到展览可能不会改变什么，但这是可以有象征价值的。如果回溯威尼斯双年展127年的历史，就会轻易的发现女性艺术家参与的比例非常低，我想为在过去被压制的声音留下空间。”
威尼斯双年展作为全球艺术节重要的风向标之一，聚集更新着许多值得关注的女性艺术家，让我们一起来赏析她们将以怎样的独特视觉语言和鲜明的个人风格来诠释对艺术的理解。
With more female artists coming into the public and receiving more attention from galleries and collectors, the rise of female power in the art world today cannot be ignored. Women are gradually gaining more voices, moving from “inside” to “outside” of the painting.
Cecilia said, “I realize that the exhibition may not change anything, but it is something that can have a symbolic value. If you go back 127 years in the history of the Venice Biennale, it is easy to see that the participation of women artists is very low and I want to leave space for voices that have been silenced in the past.”
Venice Biennale, as one of the most important global art festivals, has gathered and renewed many noteworthy female artists. Let’s take a look at how they will interpret their understanding of art with their unique visual language and distinctive personal style.
艺术家推荐
Great Women Artists
#1
西蒙尼利(Simone Leigh)
▲ Simone Leigh, Brick House 西蒙尼利,《砖房》
Simone Leigh是本届双年展最佳艺术金狮奖的获得者，也是威尼斯双年展记录上首次被授予该奖项的黑人女性艺术家。
她的艺术核心是以黑人女性为主观，作品 (Brick House)设置在了军械库展厅的入口，一座女性半身铜像雕塑坚定的矗立在最醒目的地方，给人们带来视觉和心灵上的冲击。
Simone Leigh won the Golden Lion for the Best Artist in the International Exhibition The Milk of Dreams, who is the first black female artist to be awarded the prize.
The core of her art is black women. Brick House is set at the entrance of Arsenale, where a bronze bust of a woman stands firmly in the most prominent place, giving people a visual and spiritual impact.
▲ 美国展馆建筑造型 Sovereignty, U.S. Pavilion
Leigh对此次美国展馆进行了扩建，利用茅草覆盖了原有建筑，最终以一个木杆支撑的大劲非洲传统帐篷显现。这样全新的外立面，会立刻让人联想到托马斯杰斐逊（Thomas Jefferson）的蒙蒂塞洛种植园，那里曾有400多个被奴役的人在那里生活和工作。以此符合她对西方殖民主义的颠覆性思考。在建筑内部，陶瓷、青铜器和影像作品的结合也是西蒙尼·利对被边缘化的黑人女性历史进行调查的有力概述。
Leigh expanded the U.S. pavilion with thatch to cover the original building, which ultimately appears as a large, powerful traditional African tent supported by wooden poles. Such a new facade will immediately reminds us of Thomas Jefferson’s Monticello plantation, where more than 400 enslaved people lived and worked, in keeping with her subversive reflections on Western colonialism. Inside the building, the combination of ceramics, bronzes and video work also serves as a powerful overview of her investigation into the history of marginalized black women.
#2
舒比吉·拉奥（Shubigi Rao）
▲ Artefacts from S. Raoul’s final dig, 2013. S. Raoul 最后挖掘的文物，2013
舒比吉·拉奥化身为虚构的另一个男性自我—“S. Raoul”。从2003年到2013年，她以男性的名义进行着创作艺术和写作，以此来审视当时女性被排斥在艺术史和许多当代空间之外的问题。她渴望对自己的作品进行诚实的批评。Rao说“我的工作内容永远不会受到批评。”
S. Raoul帮助她做自己。“这对我来说，是一个非常有趣的出路，也是重要的女性主义声明。”这其实是她第一个十年项目，她这样做的决定，为写其他女性的女性故事留出了空间，也引起了特别的共鸣。她和策展人Ute Meta Bauer 组成新加坡馆的首个女性领导团队。
Shubigi Rao has taken on the persona of a fictional alter ego, “S. Raoul”. From 2003 to 2013, she created art and wrote in the name of masculinity as a way to examine the exclusion of women from art history, contemporary spaces and many other problems. She aspires to an honest criticism about her work. Rao says, “I will never be criticized for what I do.”
S. Raoul helps her be herself. “For me, it was a very interesting outlet, also an important feminist statement.” This is actually her first 10-year project. In doing so, she made room for other women’s stories and also aroused special resonance. She and curator Ute Meta Bauer form the first female leadership team for the Singapore Pavilion.
#3
芭芭拉·克鲁格（Barbara Kruger）
▲ Barbara Kruger，Untitled (Forever)，2017 芭芭拉·克鲁格, 《Untitled (Forever)》，2017
芭芭拉·克鲁格（Barbara Kruger）是美国著名的摄影家、艺术家，她常通过自己独特的作品风格表现女性的身份、地位以及与男性不平等的关系等。她倾向使用现成的图片（那些图片多半取自于大众媒体，比如过期的杂志和广告），用图片和文字结合的方式表达自己内心的想法。
Barbara Kruger, a famous American photographer and artist, often expresses women’s identity, status and unequal relationship with men through her unique style of works. She tends to use ready-made images (most of which are taken from mass media, such as outdated magazines and advertisements), and uses a combination of images and text to express her inner thoughts.
#4
刘佳玉
▲ 刘佳玉,《河边》, 2017 Liu Jiayu, The Riverside, 2017
90后中国艺术家刘佳玉毕业于英国皇家艺术学院的信息体验设计专业，她致力于将人工智能、编程、数据可视化等不同领域的技术运用到新媒体艺术的创作中。“艺术作品本身的创作语言和概念是非常重要的，其实技术就应该像是画家的画笔、雕塑家的泥巴，运用起来该自然而然。”在她的作品里，我们可以看到理性的技术与感性的艺术相互融合，以她富有诗意的东方视角向观众们展示了大数据时代科技发展背景下艺术的可能性。
Post-90s Chinese artist Liu Jiayu graduated from the Royal College of Art with a degree in Information Experience Design. She is dedicated to applying technologies from different fields such as artificial intelligence, programming and data visualization to the creation of new media art. “The creative language and concept of the art work itself is very important. In fact, technology should be like a painter’s brush or a sculptor’s clay, being naturally used.” In her works, we can see rational technology and sensual art merging with each other, with her poetic oriental perspective, showing the audience the possibilities of art in the context of big data development.
HER ART
她艺术 ▪️
由此看来，如今的女性艺术家们关注的不仅是女性的身体与性别等问题，而是拓展到生命、科技、环境与意识形态等更广阔的维度。透过女性细腻特质的面纱，建立超现实主义的梦境，对人类和超人类时代的揭秘，对人与自然与技术之间的关系深度探索。这样的艺术盛宴，很难让人不陷入“梦之乳”的童话漩涡中。这是对历史的“再审视”（re-vision），在科技、社会和流行病或者环境灾难的压力下，我们不能只满足于回归过去某种共同体的幻想，而是通过重读历史继续探索新的可能性。
It seems that today’s female artists are not only concerned with issues such as women bodies and gender, but expand into the broader dimensions of life, technology, environment and ideology. Through the delicate veil of women, surrealist dreams have built, which uncover the mystery of human and transhuman times and explore the relationship between human, nature and technology. It is hard not to fall into the fairy tale whirlpool of “The Milk of Dreams” with such a feast of art. It is a “re-vision” of history. Under the pressure of technology, society, epidemics and environmental catastrophes, we cannot be satisfied with the illusion of returning to a certain community of the past, but continue to explore new possibilities by re-reading history.
参考文献/References：
[1]“2022年艺术双年展：主页2022.” 威尼斯双年展, 26 Apr. 2022, https://www.labiennale.org/zh/art/2022.
[2]Levene, David. “Trunks, Cosmic Capers and Sandbags for Ukraine: Venice Biennale 2022 – in Pictures.” The Guardian, Guardian News and Media, 25 Apr. 2022, https://www.theguardian.com/artanddesign/gallery/2022/apr/25/molten-steel-an-elephant-and-sandbags-for-ukraine-venice-biennale-2022-in-pictures.
[3]Sutton, Kate. “Kate Sutton on Shubigi Rao and Her Work at the 59th Venice Biennale.” The Online Edition of Artforum International Magazine, 1 Apr. 2022, https://www.artforum.com/print/202204/kate-sutton-on-shubigi-rao-and-her-work-at-the-59th-venice-biennale-88115.
[4]“Art Work, Images, Fine Art, Surrealism.” Leonora Carrington, https://www.leocarrington.com/home.html.
出品：杨丽
视觉：蒋懿嘉
审校：许婷
翻译：毛若函
编辑、排版：陈媛媛