“2021年表演双年展”于去年秋天在纽约举行，不仅标志着哈莱姆区艺术家查巴拉拉·赛尔夫首次涉足行为艺术，而且也标志着他创作鞋子和服装的尝试。她在此次活动上的表演作品《发声板》示了她与Uggon合作的一个系列，该系列以及膝高跟、平底微靴、宽大的手提袋和外套为特色，重复了Self和这个美国品牌独特的色调和图案。
这位画家通过富有表现力的、扭曲的、拼贴的肖像来探索美国黑人的身份，她不确定自己能否完成这一使命。但这是赛尔夫的绘画中表现和讲故事之间的联系，通常是基于虚构的人物。《发声板》是一部对性别和权力剧的探索，它看到了一个男女演员参与对话的过程，对话从字面发展到荒谬，叙事相互交换、交织在一起。
服装在赛尔夫的混合媒体艺术作品中产生了特别的共鸣，这些作品融合了面料，比如一条过时的牛仔裤，以及纸板、塑料玻璃和镜子的拼贴，还描绘了新时代帽、亮片手袋和篮球背心等作品。所以她热衷于在服装、表演和她自己的艺术作品之间创造凝聚力。艺术家解释：“我希望服装比我的画更简洁，这样它们就不会分散我的注意力。于是我把画中的图案变成了重复的图案。”
这位画家通过富有表现力的、扭曲的、拼贴的肖像来探索美国黑人的身份，她不确定自己能否完成这一使命。但这是赛尔夫的绘画中表现和讲故事之间的联系，通常是基于虚构的人物。《发声板》是一部对性别和权力剧的探索，它看到了一个男女演员参与对话的过程，对话从字面发展到荒谬，叙事相互交换、交织在一起。
服装在赛尔夫的混合媒体艺术作品中产生了特别的共鸣，这些作品融合了面料，比如一条过时的牛仔裤，以及纸板、塑料玻璃和镜子的拼贴，还描绘了新时代帽、亮片手袋和篮球背心等作品。所以她热衷于在服装、表演和她自己的艺术作品之间创造凝聚力。艺术家解释：“我希望服装比我的画更简洁，这样它们就不会分散我的注意力。于是我把画中的图案变成了重复的图案。”
The Performa 2021 Biennial, which took place in New York City last autumn, markednot only Harlem-based artist Tschabalala Self’s first foray into performance art, but also into creating footwear and clothing. (She had already created bags, having worked with Louis Vuitton for itsArtycapucines bag project, in 2019.)Her performance piece for the event,Sounding Board,showcaseda collaboration with Uggon a collection that features knee-highheeled and flat micro boots, roomy tote bags and outerwear, riffingon motifs, tones and patterns idiosyncratic of both Self and the American brand.Sounding Board: performance, costume, and artworks intertwineWhen Self was invited to participate in the Performa 2021 Biennial – the ninth edition of the performance art-focused event, themed around New York City and its emergence from Covid-19 restrictions – the painter, who explores Black American identity through expressive, warped, collagedportraiture, wasn’t sure she could accomplish it. But it was the link between performance and storytellinginSelf’s paintings, often based on fictionalcharacters – couples, fathers, a coquette, shoppers in bodega stores – that spurred her on.‘It was a matter of expanding that narrative,’ she says,‘shaping a play, creating characters’ internal dialogue and bringing my visual language into set design.’Sounding Board, an exploration of gender and power play, saw a male and female actorengage in dialogue that progressed from the literal to the nonsensical, where narrativeswapped and intertwined. The performance, set in a domestic ‘liminal space’ – an evocation of the settings of Self’s paintings – featured staging formed from colourful,patterned, painted boards and oil paint projections. Clothing has particularresonance in Self’s mixed-media artworks,which incorporate fabric, such as an out-grown pair of jeans,alongside a bricolage of chipboard, plasterglass and mirror, and depictpieces likeNew Era caps, sequined handbags andbasketball vests. So she was keen to create cohesion between costumes and performance and her own artworks.‘I wanted the costumes to be more pared down than in my paintings, so they weren’t distracting,’ Self says.‘So I turned designs from thepaintings into repeated patterns.’
