题 目：Gillian Wearing and Claude Cahun / 吉莉安·韦英和克劳德·康恩

作 者：Sarah Howgate

出 版：National Portrait Gallery，2017

装 帧：精装，208页

尺 寸：21*25 cm

Claude Cahun 和 Gillian Wearing 来自不同的背景，生活在不同的时代——相隔大约一个世纪。Cahun 与她的同时代人 André Breton 和 Man Ray 都属于法国超现实主义运动，尽管她的作品在她有生之年很少展出。由于在法国抵抗运动中的作用，Cahun 与她的女性伴侣、艺术家兼舞台设计师 Marcel Moore 一起在第二次世界大战期间被囚禁在德国占领的泽西岛。Wearing 在 Goldsmiths 接受培训，并成为英国青年艺术家运动的一员，并于 1997 年获得特纳奖。她在英国（包括 Whitechapel 画廊）和海外（最近一次是在瓦伦西亚的 IVAM）进行了广泛的展览。

尽管他们的背景不同，但艺术家之间可以得出明显的相似之处：他们对身份和性别有着共同的迷恋，这种迷恋通过表演表现出来，并且都使用化装舞会和背景来创造精心设计的舞台布景。Wearing 过去曾公开提及Cahun：“我作为Cahun在我脸上戴着面具是对Cahun 1927 年自画像的重建，并构成了本次展览的起点。

在这本书中，与Wearing密切合作的莎拉·豪盖特 （Sarah Howgate） 研究了两位艺术家的自画像作品，研究了文化、历史、政治和个人背景如何影响他们对相似主题的解释。该书包括 100 多部重要作品的复制品，分为主题部分，包括艺术演变、表演、化妆舞会和 Momento Mori，并附有评论。最后一部分展示了 Wearing 的新作品：与 Cahun 的“（某种）合作”。这本书还包括 Howgate 对 Wearing 的揭示性采访，以及作家兼策展人 Dawn Ades 对 Cahun 的启发性文章。

Claude Cahun and Gillian Wearing came from different backgrounds and were living in different times – about a century apart. Cahun, along with her contemporaries André Breton and Man Ray, belonged to the French Surrealist movement although her work was rarely exhibited during her lifetime. Together with her female partner, the artist and stage designer Marcel Moore, Cahun was imprisoned in German‐occupied Jersey during the Second World War as a result of her role in the French Resistance. Wearing trained at Goldsmiths and became part of the Young British Artist movement, winning the Turner Prize in 1997. She has exhibited extensively in the UK, including at the Whitechapel Gallery, and overseas, most recently at the IVAM in Valencia.

Despite their different backgrounds, obvious parallels can be drawn between the artists: they share a fascination with identity and gender, which is played out through performance, and both use masquerade and backdrops to create elaborate mis‐en‐scène. Wearing has referenced Cahun overtly in the past: Me as Cahun Holding a Mask on My Face is a reconstruction of Cahun’s self‐portrait of 1927, and forms the starting point of this exhibition.

In this book, Sarah Howgate, who has worked closely with Wearing, examines the self-‐portrait work of both artists, investigating how the cultural, historical, political and personal context affects their interpretation of similar themes. The book includes reproductions of over 100 key works, presented in thematic sections including Artistic Evolution, Performance, Masquerade and Momento Mori, accompanied by a commentary. The last section features new work s by Wearing: a ‘collaboration’ (of sorts) with Cahun. The book also includes a revealing interview with Wearing by Howgate and an illuminating essay on Cahun by writer and curator Dawn Ades.