#住在2020# Jannike Brantås

按：“住在2020”系列访谈是“实地想象”自媒体在不平凡的2020年末与生活在各地的艺术界朋友们的联络与问候，通过回顾性的描述，分享他/她们在后疫情时期在各地遭遇的日常生活和可能推进的新近作品，希望由此可能勾勒出这个特殊时期人们具有怎样坚韧的品格、丰富的心灵世界和创造力。了解更多关于“住在2020”系列访谈的想法……

人物：詹妮克·布兰特（瑞典）
Artist: Jannike Brantås

1.Where do you live in 2020? Please describe the place and the surrounding environment.

I live in central Stockholm. It is a part of the city where it is quite calm, noting well established people of high income. As have been a poorer part of the city it is now middle class area with people working in theatre, journalism, design and IT. Though these jobs not all are privileged coming to income, more of prestige. There are also people living here with low income as they have not chosen the area because of cool, rather because of low rent depending on house renting companies. I live close to the churchyard, passing through several times a day. I may spend time there when warm. Also my parents are buried here, so I can visit them often. I spend my days here in the area, not moving out of it so often, if I do I walk wherever I´m intending. I have my studio at home in one our three rooms often taking the apartment into my work. I also walk shortly to Studio44, where I am a member, to our gallery to take part in the projects there. In my block my grand children go to school. I may meet them at times when walking. Not far is the water to which I take my daily walks. This area used to be a very poor part of the city, as part of the countryside where small farming was done and also windmills since this is high above the rest of the city to the north. I can go to a cliff where I can see big parts of Stockholm below me.

1.2020这一年你生活在哪里？

我住在斯德哥尔摩市中心。这是城市的一部分，但这里相当平静，据说这里居住着良好的高收入人群。这里曾是城市的一个穷人区，现在是中产阶级地区，住着从事戏剧、新闻、设计和信息技术工作的人。虽然这些工作并非都拿着特别的收入，更多的是名望。也有一些低收入人群住在这里，并不是因为住这里很酷，而是因为租金低，这取决于房屋租赁公司。我住在教堂附近，一天要经过好几次，暖和的时候我可以在那里呆一段时间。我的父母也葬在这里，所以我可以经常去看望他们。我大部分时间都在这一片，出入不是很频繁，如果需要，我步行去我想去的地方。我家里的三个房间有一间是工作室，我也经常把工作带到客房里去做。我也很容易走路到Studio44画廊，一家艺术家会员制画廊，我是那里的其中一名成员，我常去我们的画廊参加活动。在我生活的街区，我的孙子孙女也在附近上学，我走路的时候可能会碰到他们。不远处有一片湖，那是我每天散步的地方。这个地区曾经是城市的一个非常贫穷的地区，作为农村的一部分，这里曾从事小规模的农业生产，也有风车，因为它比城市北部的其他地方更高。我可以去到一个悬崖上，在那里我可以俯瞰斯德哥尔摩的大部分地区。

2.How does the COVID-19 pandemic affect you personally in your country and its countermeasures?

This year has made my surroundings even more clear as the streets I walk has narrowed on my life. I started the year by not visiting shops too much. Buying food on deliverance and in all limiting my affairs. I wear mask if I need to shop, and meeting people I avoid coming near. So my body language is the most significant change I think. During summer me and my husband and children went to the summerhouse in an island where we kept to ourselves. Not usually seeing many but this summer even less.

I have had contact with artists friends mostly on zoom. When exhibiting we stayed outdoors or on distance. This autumn as covid came back contact with others I feel has been more and more scarce as it takes energy to be this way. More obvious as our country is dark in autumn and winter; with shorter days as closing in on midwinter. Also lack of snow make everything dark and moist air shaping clouds, we did not have any sun days the whole December, just darkness. Making everything kept at la very low energy flow. Covid restrictions has been up to each individual, since we don’t have laws that make it possible to close shops i e. And since we are very individualistic we do not respect restrictions and following not our neighbour.

2 新冠疫情对你所在国家及其对策对你个人有什么影响？

今年让我的周围环境变得更加清晰，因为我走过的街道已经缩小了我的生活范围。年初的时候我不怎么逛商店，在有迫切需要的时候或者所有事务都受到限制时，就去商店买食物。如果我需要购物，我会戴上口罩，我也会避免与人接触。所以我的肢体语言是我认为最重要的改变。在夏天，我和我的丈夫还有孩子们去了一座小岛上的夏季房，在那里只有我们自己。在小岛上通常看不到很多人，但今年夏天人就更少了。

我和艺术家朋友主要通过zoom线上会议保持联系。做展览的时候，我们都呆在户外或保持社交距离。今年秋天，当新冠再次回来传播时，我觉得自己越来越害怕，这种状态特别消耗精力。更麻烦的是在我们国家秋冬季特别阴暗，接近冬至的时候白天更短。今年缺雪，使一切阴暗潮湿的空气形成压抑的乌云，我们整个十二月都没有任何阳光，只有黑暗。一切都只能保持一种极低的能量流。在瑞典，针对新冠疫情的约束是由我们每个人自觉履行的，因为我们没有法律强制关闭商店，也就是说，因为我们非常个人主义，我们并不尊重约束，我们也没有紧随我们邻国的防疫政策。

3.Where is one of the places you enjoy most this year? How do you spend your time there? can you describe what it looks like?

I enjoy very much the room I use for studio. It´s part of the apartment as is jammed with materials, books and works of art. I spend as much time I can there. It may easily be an interrupted place since my husband is at home all day and I can sometimes feel interrupted by his works and doings. But it is my woman cave; this is where I can keep myself together and write and inspire myself, be creative. It is my heart, my mind and my soul place. It is really messy here now since I am making a book, not knowing how really, making a book on Studio44 from the start until now. I also make a team project called the River with four other artists, hoping it will work out fine. So, included is also a River in this little chamber….

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3 今年你最享受的某个地方是哪里？你如何在那里度过时光？能否描述一下那里什么样子。

我非常喜欢现在我拿来做工作室的房间，这是公寓的一部分，里面堆满了材料、书籍和艺术品。我尽可能多地在那里呆着。这可能是一个很容易被打扰的地方，因为我丈夫整天都在家里，我有时会感到被他的作品和行为打断。但这也是一个属于女人的“洞穴”，在这里我可以让自己全神贯注：写作、激励自己、发挥创造力。工作室就是我的心、精神和灵魂所在。现在这里真的很乱，因为我在写一本书，不知道怎么写，这是一本关于Studio44团体始末的书。我还和其他四位艺术家共同发起了一个名为“河流”的团队项目，希望它能很好地完成。所以，在这个小房间里还有一条河……

Jannike Brantås, The River/Floden (Capsule, ongoing River project, detail)
Capsule:
I intend to make vertical intstallation. Between depth and sky; a large number of capsules will be presented in a windling row. Capsules will be connected with the deep waters with all that there is; mounted on long strings connected to the roof of the site. The capsules may be memories, forgotten or remembered, psycic hidden impulses, dirt that collects other dirt, still the thread of life takes you from the depth, the deep waters to the sky.
This is only one of my intended works for the River.
The River is a one year old, an ongoing group project aspiring to dive into many dimensions of River theme. Five artists with different entrances into the theme now starting to produce art works after long period of trying to meet, not meet, discussing in solitude with own fantasies and aspirations, dreams, horrors and memories…
Participating artists: Laetitia Deschamps, Madeleine Aleman, Masoud Shahsavari, Rikard Fåhraeus and Jannike Brantås

詹妮克·布兰特，胶囊：
我打算垂直安装。在深度和天空之间；大量的胶囊将呈现在一个蜿蜒的行列中。胶囊将与深水相连；安装在与现场屋顶相连的长绳上。胶囊可能是记忆或者遗忘，心理隐藏的冲动，藏污纳垢，它仍然是生命的线，带你从深水到天空。这只是我为这条“河流”准备的作品之一。
河流 ：
“河流”是一个只有一岁的正在进行的小组项目，渴望潜入河流主题的许多方面。五位从不同切入点进入主题的艺术家，经过长时间的尝试相见/不相见，与自己的幻想、抱负、梦想、恐怖和回忆孤独地讨论，现在开始创作艺术作品…
参展艺术家：莱蒂娅·德尚、马德琳·阿莱曼、马苏德·沙赫萨瓦里、瑞卡德·弗雷乌斯和詹妮克·布兰特

4.Where is the farthest place you have been this year?

I have been in a small island in the Baltic sea, where we have our summer house. We went there in summer though it was not a decision sanctioned by the government or by moral criteria. But in order to keep away from meeting a lot of people, be outside doing things, seeing our children outside we did it. And also not liked by people on the island or by hospital workers; if we might need help from hospital in any way we might bring in virus. But nothing happened with us. (Others continued social life in bars and elsewhere and infected mostly workers there, I am sad to say.)

4 这一年你去到最远的地方是哪儿？

我去过波罗的海的一个小岛，我们在那里有我们的夏季房。夏天我们去了那里，尽管这不是政府批准的决定，也有点不太道德。但是为了不和人群见面，不在外面做事，不想在外面见我们的孩子，我们就这么做了。岛上的人和医院的工作人员也不喜欢；倘若我们什么时候真需要当地医生的帮助，我们可能会把外界的病毒带进去。但我们之间什么都没发生。(我很遗憾地说，很多人继续在酒吧和其他地方开展社交生活，感染的主要是那里的工作人员。)

5.Who do you live with in 2020?

I live with my husband.

5 这一年你主要和谁生活在一起？

我和我丈夫住在一起。

6.How did the COVID-19 pandemic affect the way you work?

In the spring I had to get more organized, as to how to get material and keep out of close contact with others. But we managed as weather was nice and we could work out an exhibition mostly outside in a garden. It became a very well visited exhibition and welcomed by the audience at that restricted time. Later on it still makes my work more organized and in not going to shops, or hurridly so, making ideas shrink in size on a conscious level probably more so on a unconscious level as time with restrictions is extended. It makes me tired and I have to rest trying to think more about things rather than doing things. So mentally shrinking my work. Still not to think the situation affects my work, but I think it does.

6 新冠大流行对你的工作方式产生了怎样的影响？

到了春天，我设法让生活更有条理，并与其他人保持密切联系。我们也做了些事情，因为天气很好，我们可以在户外的花园里做一场展览。在那段实行管制的日子里，它成为一个参观人数众多的展览，受到了观众的欢迎。后来，这种状态也让我的工作更有条理，不去商店，或者快去快回。让想法在有意识的层面上缩小，在无意识的层面上可能会随着有禁令时间的延长而变得更有条理。这让我很累，我不得不休息，想更多，而不是做更多的事情。所以我在精神上缩减了我的事情。不要去想疫情如何影响了我的工作，尽管它肯定影响了。

Exhibition: 101 Fahrenheit, Slipvillan:
The theme intended to be an interpretation of celebrating, honouring summer period in times when climate is reaching tipping point. More info please visit www.slipvillan.org/101-farenheit.html
花园里的展览“华氏101度”，斯德哥尔摩，斯莱普维兰：
这个主题是对庆祝的诠释，在气候达到临界点的时候纪念夏季。展览详情访问www.slipvillan.org/101-farenheit.html

7.Has your work been promoted in some way?

No not my personal work. But I get a small amount of money for making the book. And that project is affected I great sense by corona; as people cannot concentrate on sending me material, because artists life is very affected by the corona. Cultural workers cannot survive in these days.

7 你的工作是否获得了某种推进？

没有，个人作品上没有推进。但我写这本书赚了一小笔钱。我强烈感受到这个项目受到新冠疫情的影响，因为人们不能集中精力给我发相关材料，艺术家们的生活也很受新冠疫情的影响，文化工作者在这些日子里不好过。

8.Are you more anxious this year than in previous years? If so, how do you relieve your anxiety?

The only ways to survive is to work with art, taking walks outside and accepting. Also trying to keep contact with artists friends and family through other collective and private channels.

8 这一年你是否比往年更焦虑？如果是，你是如何缓解焦虑的？

生存下去的唯一办法就是与艺术相伴，去户外散步和接受现实。也尝试通过其他集体和私人渠道与艺术家、朋友和家人保持联系。

9.Recommend some movies or books you have seen this year (or a poem), you can briefly explain why.

I don’t look too much on movies; I enjoy images and videos from the internet, museums all over the world, listening to interviews, art talks also reading journals on art. I think poems have been a nice way to expand my personal universe. I read a biography now by a Swedish artist: Marianne Lindberg de Geer: “Tvära kast”/ “Abrupt changes”, Spark Joy by Marie Kondo ( how to throw away things that you don´t need), Nina Burton: “Flodernas bok”/ “the Book of the rivers” and Louise Glück “Wild Iris”. And other poetic scriptures.

9 推荐几部这一年你看过的电影或是书，也可以是一段诗歌。也可以简单说明一下为什么。

我不太看电影；我喜欢互联网上的图片和视频，喜欢世界各地的博物馆，喜欢听采访，喜欢艺术演讲，也喜欢阅读艺术期刊。我认为诗歌是拓展我个人世界的一种很好的方式。我现在读了一本瑞典艺术家的传记：玛丽安·林德伯格·德盖尔(Marianne Lindberg De Geer)的传记：《突变》。喜欢Marie Kondo在《点燃喜悦》里写“如何扔掉你不需要的东西”，Nina Burton在《河流之书》和Louise Glück在《野生鸢尾》中的诗句。

10.Have you ever imagined what human life would be like after the end of COVID-19 pandemic?

Yes, it will be a hard struggle in order to change the way we live. I am taking active part in the climate work; so for me it is not only corona, but corona as the landmark for needing a much bigger change of life. But that is work on many/ two fronts, for recovering climate and how to affect the ones that won´t recognize the change needed, at all. Big challenges, all of them.

10 你是否想象过新冠大流行结束后的人类生活会怎样？

是的，为了改变我们的生活方式，这将是一场艰苦的斗争。我正在积极参与气候变化的工作，所以对我来说，它不仅是新冠疫情，但这场新冠疫情已经成为我们需要做出更多生活改变的标志性事件。这将是许多方面的工作，但主要是两方面，一个是要恢复气候，一个是如何去影响那些根本没有认识到需要做出改变的人。所有这些都是巨大的挑战。

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关于艺术家 about the artist
Jannike Brantås
My artistic practice have concerned both painting and performance art. Now I continue to use simple materials that I connect to human beings and nature´s phenomenon and formulating them into object and installation.

詹妮克·布兰特（瑞典）
我的艺术实践涉及绘画和表演艺术。现在我继续使用简单的材料，将人类和自然的现象联系起来，并将它们做成物件和装置。

“住在2020”系列访谈策划：罗菲
本文图片由艺术家提供