Star-Crossed, 2010
《星儿交错》，2010年
Installation with ceramics and textiles
装置，瓷器，纺织物
Courtesy the artist and the Galerie Fons Welters, Amsterdam. With thanks to the Fonds BKVB.
由阿姆斯特丹Fons Welters画廊提供。特别感谢BKVB基金会的支持。

Dance performance every Saturday and Sunday 20 June – 11 July at 3pm.
舞蹈现场：６月２０日至７月１１日，每周六和周日，15:00     

Jennifer Tee’s Star-Crossed invites poetic association. Consider these words, some of which are stamped on the ceramic vessels distributed throughout her sculptural installation: “secret selves,” “replacing,” “healing,” “inner process,” (wood fired vessels) “recovered memory,” (water jug) , “a great miss” , “infinite worlds,” “spiritual retreat,” ruled fate” (jars) “transcend & escape,” “hair, heart, liver, ovary,” “ancestral sacrifice,” and “star crossed” (urns and funerary vases) … The last words come from astrology and refer to the inevitability of paths crossing, on both a human and a more abstract scale, of which the implications are often – but not always - unlucky. Interested in the duality of concepts and forms, Jennifer Tee holds out the possibility of transcending differences and asks us to attend to deeper processes. When we consider how her work was made, a story emerges that weaves together diverse geographies and ancient forms of production: The ceramic vessels and feather forms were produced in Jackson Li’s Sanbao Ceramic Art Institute at Jingdezhen, with the assistance of Min Shen. This is the area most identified with China’s legendary ceramic production or “fine china.” The hexagonal textiles, which may be seen to connect to traditional woven crafts from the Americas, India and Africa, were produced with Sahara Briscoe, a very contemporary craftswoman from the Bronx, New York. The weavings allow the space to blend the functions of sculpture and stage as the five hexagonal forms become the basis for a choreographed routine performed by five women. Tee asked Shanghai-based choreographer nunu kong to develop these poses and postures while reflecting on her poetic phrases, in an attempt to unify the functions of mind, body and spirit. The women’s movements, accompanied by a trumpet improvisation based on Duke Ellington’s The Star-Crossed Lovers (1967), are as modern as jazz. But they also connect to the Taoist treatment of objects both as everyday useable things and as highly symbolic forms, or companions in daily ritual.
Jennifer Tee的作品《灾星》激发了我们的诗意想象。下面这些词经常印刻在她的各种瓷器雕塑装置上：“神秘的自我”，“替代”，“愈合”，“内在进程”（彩烧瓷 器），“修复的记忆”（水壶），“美好的错过”，“无限的世界”，“精神隐居”，“被规定的命运”（瓷罐），“超越/逃出”，“头发，心，肝，卵巢”， “古老的献祭”，“灾星”（骨灰瓮和葬礼花瓶）……最后这个词源出占星学，指的是人类生活中或者更为抽象的范围内偶遇的必然性，这其中尽管并不总是、但常 常包含了不幸的含义。Jennifer Tee对观念和形式的二元性拥有浓厚的兴趣，她坚持超越差异的可能性，要求我们参与到更为深层的进程中。让我们来看看她创作的方式，这其中包含了各种生产 的地理性和古代形式。她的这些瓷器和羽毛形状的作品都是在景德镇由李见深创立的三宝陶艺研修院里完成的，并有助手Min Shen协助。景德镇是中国富有传奇色彩的瓷器之乡，以生产“美瓷”而闻名于世。六角形的织布可以看做是传承于美洲、印度和非洲的传统的编织品，是艺术家 与纽约布朗克斯区一个非常当代的女匠人Sahara Briscoe一起合作制作的。通过编织，空间将雕塑的种种功能融合起来，五个六角形形状的作品则编排成一段固定的表演，由五位女子演出。Tee让生活在 上海的舞蹈指导nunu kong设计编排了这些姿势和体态，以投射其诗意的表达，试图统一头脑、身体和精神的功能。伴随舞者动作的是一段即兴的小号演奏，以Duke Ellington的《薄命恋人》（1967年）的旋律为基础，整个舞蹈与爵士乐一样现代。但这也指向了道家既将物体看作日常可用之物、又看作具有高度象 征意味的寄托之物的方式，或者说，将物体本身当作日常生活仪式中的伴侣。

Amsterdam-based artist Jennifer Tee (b. 1973) creates symbolic, synthetic, even fantastic sculptural installations that the visitor can contemplate, but also sometimes enter or engage with ritually. Her works often balance seemingly contradictory factors: great sculptural sophistication with a transparency in production; the interest in evoking spiritual realms with active material experimentation. She has exhibited internationally, including at the 2004 São Paolo Bienal in Brazil and the 2006 Gwangju Biennial in Korea and has earned several prestigious prizes including the third prize in the Prix de Rome competition 1999 and the Uriot-prijs, Rijksakademie van Beeldende Kunsten, Amsterdam in 2000-2001, among others. After its premiere in Shanghai, a version Tee’s Star-Crossed travels to Birmingham in the United Kingdom, where it will be exhibited at Eastside Projects.
艺术家Jennifer Tee（1973年生）生活工作于阿姆斯特丹，她的雕塑装置作品充满了象征、综合和幻想的意味，引发观众的沉思；观众有时甚至可以走进她的作品中，仪式性 地与之发生联系。她的作品常常致力于挖掘平常那些看起来矛盾的因素，这得力于艺术家丰富的雕塑经验、生产的透明性以及力图通过积极的材料试验唤醒精神领域 的兴趣等等。她在国际上广泛参与展览，包括2004年巴西圣保罗双年展和2006年韩国光州双年展，并赢得过一些声望很高的奖项，如1999年Prix de Rome奖第三名以及2000-2001年阿姆斯特丹Rijksakademie造型艺术学院Uriot-prijs奖等等。此次在上海展出后，Tee的 这部电影的另一版本将前往英国伯明翰，并在那里的Eastside Projects项目空间展出。