Sustained Glass, 2019, by Wu Tsang, with Fred Moten, boychild, Lorenzo Moten  Hypatia Vourloumis. Courtesy of the artist, Galerie Isabella Bortolozzi and Cabinet. Photography: Luca Girardini

In his 1990 book Poetics of Relations, Martinican philosopher and poet Édouard Glissant famously argued for the ‘right to opacity for everyone’, as an ethical stance against imperial conquest. This notion is central to the practice of American artist Wu Tsang, as manifested across the moving image and glass-based works featured in a new major exhibition, opened at Gropius Bau. Entitled ‘There is no nonviolent way to look at somebody’, it spans seven rooms, incorporating film, sculpture, text and sound and is the result of a yearlong residency at the Berlin institution – the first of its kind.

在他的1990年的《关系诗学》中，马丁尼克的哲学家和诗人Glissant著名地认为“人人都有不透明的权利，这是一种反对帝国征服的伦理立场。这个概念是美国艺术家吴曾权的实践的核心，它表现在运动形象和玻璃基作品的一个新的大展览中，开放在鲍的GropiusBau。“没有非暴力的方式去看某人，它跨越了七个房间，包括电影、雕塑、文字和声音，是柏林机构多年居住的结果--第一类。

‘I am working with transparency and opacity as metaphors for language,’ says Tsang of her site-specific, blue stained glass windows Sustained Glass. Words are etched into the pane using acid, forming an overlapping text that fades in and out of legibility. Responding to the proportions of the 19th-century, neo-Renaissance building, the sculpture inverts the tradition of stained glass windows, depicting allegorical stories through images. ‘The glass is literally shaped by the mouth and by breathing,’ Tsang says of the medieval hand-blown technique, perfected in Bavaria, ‘which makes a very physical connection to the voice.’

曾荫权在谈到她网站特有的蓝色彩色玻璃窗持续玻璃时说，我正以透明度和不透明度作为语言的隐喻。使用酸将单词蚀刻到窗格中，形成一个重叠的文本，逐渐消失在可读性的范围内。根据19世纪的比例，新文艺复兴建筑，雕塑颠覆了传统的彩色玻璃窗，通过图像描绘寓言故事。曾俊华在谈到在巴伐利亚完善的中世纪手工吹制技术时说：“玻璃实际上是由嘴和呼吸形成的，它与声音有着非常实际的联系。”

Stills from One emerging from a point of view, 2019, by Wu Tsang. Courtesy of the artist, Galerie Isabella Bortolozzi, Cabinet, and Antenna Space

从一个角度来看，2019年吴曾的剧照。由艺术家Galerie Isabella Bortolozzi，内阁和天线空间提供

Best known for her innovative approach to documentary filmmaking, particularly in relation to queer politics and underground spaces, Tsang returns with a new film, this time dealing with the experience of migration. Shot on the island of Lesbos, One emerging from a point of view addresses the trauma of forced displacement experienced by the hundreds of refugees reaching Greece’s shores every week. Weaving together fact and fiction in the style of magical realism, the film questions modes of representation in the context of the refugee crisis. ‘I feel less reactionary to representational politics,’ the filmmaker says of her new work, which is screened via two overlapping video projections. ‘I don’t feel constrained by genre or rules of filmmaking.’ Collaboration is key for the artist, who regularly draws in diverse practitioners into her work. ‘My work often takes shape in dialogue with others,’ explains the 37-year-old artist, recipient of a MacArthur ‘genius’ grant in 2018. This is reflected in the exhibition, where a number of protagonists make central appearances, from poet Fred Moten to performance artist Boychild and photographer Eirini Vourloumis. ‘I see my role as a sort of director or host, in the sense that I try to create the circumstances for interactions to unfold,’ she says.

曾俊华以她在纪录片制作方面的创新手法而闻名，尤其是在同性恋政治和地下空间方面，他带着一部新电影回来，这次是关于移民的经历。在Lesbos岛上发生的枪击事件，从一个角度来看，解决了每周到达希腊海岸的数百名难民所遭受的被迫流离失所的创伤。在现实与虚构交织在一起的魔幻现实主义风格下，影片质疑难民危机语境下的表现方式。这位电影制作人在谈到她的新作品时说，我觉得自己对代表性政治不那么反动了。她的新作品是通过两个重叠的视频放映来放映的。“我不觉得受电影类型或电影制作规则的限制。”合作是艺术家的关键，他经常吸引不同的实践者参与她的工作。这位37岁的艺术家在2018年获得了麦克阿瑟的“天才”奖，他解释说：“我的作品往往是通过与他人对话形成的。”这在展览中得到了体现，在展览中，从诗人弗雷德·莫滕到表演艺术家男孩和摄影师埃里尼·武鲁米斯，许多主角都出现在展览的中心。她说，我认为我的角色是一种导演或主持人，从某种意义上说，我试图为互动的展开创造条件。

As the American artist continues to take Europe by storm – soon joining the Schauspielhaus Zurich as director in residence – Tsang’s Berlin exhibition offers a thoughtful overview of her practice to date, while glancing at the future. §

随着这位美国艺术家继续席卷欧洲-很快加入苏黎世沙乌斯皮尔豪斯(SchauspielhausZurich)担任馆长-曾俊华在柏林的展览为她迄今的实践提供了一个深思熟虑的概述，同时也展望了未来。§

一个从(仍然)的角度来看，2019年的吴曾。由艺术家，加利丽伊莎贝拉博托洛齐，内阁，和天线空间一号从一个观点(仍然)，2019年，吴曾。由艺术家Galerie Isabella Bortolozzi，内阁和天线空间提供