Beijing, 2008
《北京》，2008年
35mm film transferred for HD projection, 84:47 min
35 mm电影高清投影，84：47 分钟
Collection of MMK - Museum für Moderne Kunst, Frankfurt am Main
美因河畔法兰克福现代艺术馆(MMK)收藏

In 2008 Sarah Morris traveled to Beijing to film the Chinese capital during the 2008 Olympics, a decisive moment when the world gathered there to compete in sports, bringing other forms of competition and displays of power and potential to the surface. The artist gained rare access to the Bird’s Nest stadium alongside international media and went on to combine the surreal images of the opening ceremonies and the games with views of the city’s daily routines amidst unprecedented architectural transformation. Amongst an array of famous figures from the worlds of sport, politics and culture, we glimpse the Dutch architect Rem Koolhaas, depicted from a different perspective than in Eric van Lieshout’s installation. Morris calls her studio and production company Parallax – a term that designates the depth of perspective gained by viewing an object from several positions. Morris’ Beijing was shown earlier this year at Witte de With, in the first act of Morality, a group exhibition entitled Beautiful from Every Point of View. Bringing Sarah Morris’ particular observations of Beijing to the 2010 World Expo promises a new angle of reflection on this moment when Shanghai opens its doors to the world.
2008年，Sarah Morris来到北京，以举办2008年奥运会的中国首都为题材拍摄电影。那段特殊的日子里，世界各地的人聚集到一起，以体育的形式竞争，并把其他竞争形式带到这个国家，展示权力和隐藏在表面下的潜能。艺术家难得地获得同其他国际媒体进入“鸟巢”的机会，并把开幕式和比赛中离幻的图像和这座城市的日常生活中正在经历的空前的建筑转型在影片中结合到了一起。在一群体育、政治和文化明星之中，我们看到了荷兰建筑师Rem Koolhaas，只不过他的形象与Eric van Lieshout的装置中的样子有所不同。Morris给自己的工作室和制作公司起名为“视差”，用这个代表从不同角度观看物体时的透视深度的词语形象地对自己的工作进行了比喻。Morris的电影《北京》今年早些时候曾在Witte de With当代艺术中心举办的项目《道德》的首期活动中展示过，当时的群展标题为《怎么看都美》(Beautiful from Every Point of View)。把Sarah Morris对北京的观察带到此次世博会上来，在上海向世界敞开大门的时刻提供了一个崭新的反思视角。

Since the mid-1990s, the New York- and London-based artist Sarah Morris (b.1967) has been internationally recognized for her complex abstractions and films, which play with architecture and the psychology of urban environments. Morris views her paintings as parallel to her films – both trace urban, social and bureaucratic topologies. In both these media, she explores the psychology of the contemporary city and its architecturally encoded politics. Morris assesses what today’s urban structures, bureaucracies, cities and nations might conceal and surveys how a particular moment can be inscribed and embedded into its visual surfaces. Often, these non-narrative fictional analyses result in studies of conspiratorial power, structures of control, and the mapping of global socio-political networks. Morris attended Brown University, Cambridge University, and the Whitney Museum of American Art’s Independent Study Program.  She received the Joan Mitchell Foundation Painting Award in 2001, and in 1999-2000 was an American Academy Award, Berlin Prize Fellow.
上世纪90年代起，生活工作于纽约和伦敦的艺术家Sarah Morris（1967年生）以其综合的想象和电影创作与城市环境的心理学和建筑学广泛呼应，得到了国际范围内的承认。Morris认为她的画与她的电影是相似的，同样追摹了城市的、社会的以及官僚形态。她运用这两种媒介探索了当代城市的心理学以及其建筑上加密的政治特征。Morris对今天的城市结构、官僚机制以及城市与国家可能遮蔽的方面进行评估，并考察了某一特殊时刻如何可以印刻和嵌入到其视觉外表中。这些非叙事的虚构分析常常会引向对阴谋权力、控制结构以及全球社会政治网络描绘的研究。Morris曾经在美国布朗大学、剑桥大学和惠特尼美国艺术独立研究项目博物馆就读。她曾获得2001年Joan Mitchell基金会绘画奖，是1999年至2000年年度美国学院柏林奖奖学金获得者。