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开幕  2019年6月15日15:00

展期  2019年6月15日~7月5日（周一至周五 9:30~17:30，周六 10:00~18:00，周日休馆）

地点  广州市越秀区东湖路123号之二，FREE空间

 免费入场 

主办  大艺博

展览查询  020-37650271

Unit 单位

一个独立和完整的个体，但经过组合也可以构成更大或更复杂的整体。

Storage 储存

为将来使用而储存某物的行为或方法。

在计算机或其它电子系统上保留可检索的数据；存储器。

如果观念也是一种数据，那么它被量化、被容纳、被存储的单位是什么？我们所知的文字、符号、图像与物体可否完全储存它？《Units of Storage（储存单位）》试图通过一系列雕塑来研究这些想法，以引发人们对思想、历史、主体性、价值和真理的质疑。斯蒂芬 · 伯纳德 · 德里克 · 卡伦德（Stephen-Bernard D. Callender）的作品，通过对诸如建筑构件等日常物体所承载的独特信息的消解与重构，挑战着人们对艺术的界定：究竟是什么构成了一件艺术品？是什么将它与日常物品区分开？他的雕塑动摇了我们对事物固有的认知，打破了单纯的物的边界，建立起对物品的全新思考。展览在探索艺术是否能影响我们的思维方式，而如果我们能从艺术中重新构建思考，这个过程又是怎么产生的。

  艺术家自述

斯蒂芬 · 伯纳德 · 德里克 · 卡伦德（Stephen-Bernard D. Callender），1991年生于美国纽约，非裔加勒比美国艺术家，目前生活、工作于美国巴尔的摩和纽约。他的作品研究物体内嵌的信息，以及在信息嵌入的过程中人们是如何围绕物体构建一个认知的。他的作品曾在在美国德州奥斯汀Dude Ranch画廊，索格塔克Oxbow Old Inn画廊和特立尼达岛 （南美）展出。

卡伦德的作品探索魔法、科学、神秘学、宗教、历史和大地之间的联结，试图借此进入这些认知空间互相重合的领域。他用作品制造了概念空间的叠加，而这些概念空间有着具体的认知，如一个物体它是什么，它来自何时何地，它的用途以及它如何与其他事物发生关联。

卡伦德常常借用博物馆陈列、档案馆、科学实验室和物品装箱的视觉语言，来构建并陈列展示一组物品的组合，有时还会通过行为艺术来演示陈列的过程。他认为，人脑对模式化信息的需要，会让人们自发对组合中的物品的存在及彼此的关系进行重新编码，而这将是一个打破人们对事物固有认知的机会。或许在此刻，人造物体变成了遗迹，而化石变成了现在的而不是过去的代表。他的作品试图转换或动摇人们对 “ 已知 ” 事物和观念的理解，扩展了单纯的物的边界，并揭示看似不同的事物之间的交叉语言。

博物馆收藏的古物，通过展览文字及陈列，和观众建立起沟通的桥梁，让人们了解古物凝聚的历史文化信息和其自身的价值。卡伦德则利用这种博物馆、档案室、科学实验室的陈列及储存方式，重新排列组合物品，打破观众原有的对物的理解和叙述，让人们在观看的过程中为它们建立起新的关系。当新的关联语境形成时，便赋予了这些历史悠久的器物与现代贯通的意义——给予物品多层的语言符号和立体的认知空间。

  部分展览作品

Stephen-Bernard D. Callender

Metadata #2

97×178×33cm

雕塑

2018

Stephen-Bernard D. Callender

Metadata #1

213×152×61cm

雕塑

2018

Stephen-Bernard D. Callender

Untitled Container #1, O.S.B. 

183×41×61cm

雕塑

2019

Stephen-Bernard D. Callender

Grave, New Resting Place

183×92×31cm

雕塑

2018

Stephen-Bernard D. Callender

Know the lift of your heel

41×46×213cm

雕塑

2018

Stephen-Bernard D. Callender

Research in Phonautograms #2

41×91×71cm

雕塑

2018

Units of Storage

Unit

an individual thing regarded as single and complete but which can also form an individual component of a larger or more complex whole.

Storage

The action or method of storing something for future use.

The retention of retrievable data on a computer or other electronic system; memory.

What is the unit with which conceptual data can be quantified, contained and, stored？ Can it be fully held in words, symbols, images or objects？ Units of Storage seeks to investigate these ideas through a series of sculptures that call into question ideas, history, subjectivity, value, and truth. Treating the individual conceptual energy of objects like units for construction, Stephen-Bernard D. Callender's work challenges what constitutes an art object, and what separates it from objects of everyday use？ Through sculptures that destabilize assumed understandings, the show ponders whether art can impact our way of thinking and if so, how？

Artist Statement

Stephen-Bernard Derek Callender (born April 5, 1991) is a Caribbean Afro-American artist based primarily out of Baltimore and New York City. His work investigates the embedded data of objects, and how the process of archiving constructs a narrative around them. Stephens work has been exhibited internationally, in the US and Trinidad.

Exploring the continuity between Magic, Science, Mystery, Religion, History and The Ground, Stephen-Bernard Callender’s work seeks to enter the sphere where these ethereal spaces begin to coalesce. His work navigates what he sees as the superpositioned conceptual spaces which exist between concrete understandings, such as what an object is, where or when it is from, what it is for and how it relates to other things. Borrowing from the visual language of museological display, archives, scientific labs and object crating, Callender often constructs displays to exhibit a combination of found and fabricated objects; at times activating these displays through performance. He views the reordering of things in combination with the human brain's need to pattern information as an opportunity to push the fabric of an object's narrative to the edge of its breaking point. Here a fabricated object becomes a relic, or a fossil becomes a representation of the present not the past. His work seeks to reform or destabilize understandings of "understood" objects and ideas, expanding the opportunities for discovery, as well as reveal an intersectional language between seemingly disparate things.

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