About Jens Haaning - 关于延斯•哈宁

 

Jens Haaning (b. 1965) has from the outset of his artistic career been politically engaged. Back in the 1990s, he was one of those who turned the focus on outsiders in Danish society. Many of his works take their starting point in marginalized groups, and through these, he investigates intolerance and the condition of being alien or different. Haaning works with the meanings inherent in our language and the way we commu­nicate visually, and he often makes use of a simple but precise device to deal with complex situations. His works range from the visibly political as in 'Weapon pro­duction' (1995) to the more minimalistic, site-specific exchanging of light bulbs between a street in Kassel and one in Hanoi, 'Kassel-Hanoi (Light bulb exchange)' (2002). 'Danmark, Denmark' (2005) consists of the text “Denmark” written in large black capitals on the wall of the gallery. The first time the work was exhibited in Denmark in 2005, it aroused a sensation because the Danish political debate at the time was coloured by strong resistance to giving residence permits to immigrants and refugees in Denmark. Haaning’s work gets to grips with this debate, turning the focus, black on white, on concepts like nationalism and the fear of the foreign.

 

生于 1965 年,早期致力于艺术创作领域中的政治性题材。在上世纪 90 年代,他同一批艺术家一起开始关注丹麦社会 中的外来群体。他许多作品的出发点都来源于此,进而研究社会的宽容度,以及外来者的处境。哈宁关注语言中语意的 传承,和视觉的沟通方式。他还常采用简单而精确的设计来表达复杂的情景。其作品有些明显以政治为主题,例如《武 器制造》(Weapon Production, 1995 年),有些则更为极简主义和因地制宜,例如《卡塞尔-河内(灯泡互换)》 (Kassel-Hanoi (Light bulb exchange), 2002 年),将分别位于卡塞尔和越南河内两条街道上的灯泡互换。作品《丹 麦,丹麦》(Denmark, Denmark, 2005 年)是由黑色大写字母组成的文本,写在美术馆的墙上。2005 年,《丹麦, 丹麦》首次在丹麦展出便引起轰动,时值丹麦社会为是否该为外来移民和难民提供居留权而进行政治辩论。哈宁的这件 作品与这场争论不谋而合,用黑底白字将大家的注意力集中到了国家主义的概念和对外来人的敌意上。

Jens Haaning