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《OoNomathotholo: 祖先的低語》

OoNomathotholo: Ancestral Whispers

“My duty for now is to make sure the object is realized. And whatever else comes from this process of making for me. It’s about surrender and channeling. And allowing other people to access it.” 
-Andile Dyalvane
 
 

「我的責任是確保作品得以實現。不論這個創作過程對我來說會衍生出什麼，它都是關於臣服與傳遞，並讓其他人能夠接觸到它。」
—Andile Dyalvane

 

 

New York – Friedman Benda is pleased to present OoNomathotholo: Ancestral Whispers a new body of work and the third exhibition with the gallery by South African artist, healer, and spiritual leader, Andile Dyalvane. 
 
 

紐約——Friedman Benda 畫廊展出南非藝術家、療癒者及精神領袖安迪爾·迪亞爾瓦尼（Andile Dyalvane ）的最新作品，也是他在畫廊的第三次個展《OoNomathotholo: 祖先的低語》。

 

 

 

Taking its title from the intergenerational whispers of the Xhosa people, the works in OoNomathotholo carry notes of ancient experience passed down through time. Acting as a conduit, Dyalvane intermingles communal legacies with movement, flow, and labor in his daily creative expression.  The new works show his relentless re-engagement with the language of his past and the reality of his present, by creating complex visual metaphors of courage, teaching, and possibility through craft, form, and imagination.   
 
 

《OoNomathotholo》這個名稱源自科薩族人世代相傳的低語，作品承載著隨時間傳遞的古老經驗作為一個媒介，Dyalvane 在他的日常創作中，將集體傳承與動態、流動和勞動交織在一起，這些全新作品展示了他不斷重新探索過去語言與當下現實的交匯，透過工藝、形態和想像力創造出勇氣、教導和可能性的複雜視覺隱喻。

 

 

 

Comprising a series of large and powerful vessels, crafted during a period of personal and communal loss, the works embody a history of trauma and grief while offering a perspective of harmony and rejuvenation. These works were made over a period of two years in Dyalvane’s studio in Cape Town and during a residency in Austria. Several of the works on view were presented at the historic Chatsworth House in the UK in 2023 in the exhibition Mirror Mirror: Reflections on Design at Chatsworth.
 
 
 

這次展覽由一系列大型而有力的器皿組成，這些作品創作於個人與集體失落的時期，承載著創傷和悲痛的歷史，同時也提供了一種和諧與復甦的視角，這些作品是在 Dyalvane 位於開普敦的工作室，以及他在奧地利（Austria）駐地創作期間，歷時兩年完成的。其中部分作品曾於 2023 年在英國著名的查茲沃斯莊園（Chatsworth House）展出，該展覽名為《鏡中鏡：查茲沃斯設計反思》。

 

 

 

 

Returning to a familiar lexicon, Dyalvane imparts the spirit and symbolism of cycles in nature, shifting landscapes, flowing streams, cliffs, tributaries, valleys, peaks, and wildlife. But it is in the clay itself, drawn from the rivers in and around his place of birth (the village of Ngobozana in the Eastern Cape), where the viewer is struck by immediate and visceral communication with the land and the whispers of his ancestors.
 
 

Dyalvane 回到熟悉的符號語彙，注入了自然界的循環精神與象徵，展現出不斷變化的景觀、流動的溪流、懸崖、支流、山谷、山峰和野生動物的意象。然而，真正打動觀眾的，是來自他出生地（the village of Ngobozana in the Eastern Cape）周邊河流的黏土，透過這些材料，觀眾能感受到與大地及其祖先低語的即時且深刻的連結。

Each vessel tells a story; they are torn, lacerated, and punctuated with overtly executed marks and groves.  Reminders of the Xhosa practice of scarification live in the carvings and incisions but there are new directions too.  One hallmark is the introduction of a vibrant color palette indicative of wildflowers and torched earth.  Another is the total structural collapse of his vessels in places as a metaphor for resilience.  Embracing these “happy accidents” of fallen, drooping, and crumbled surfaces as points upon which to build strength, Dyalvane is able to balance his compositions and build anew. It is precisely at these junctures that the loss of brothers, sisters, and cousins are mourned and healed, and the historic erosion of landscapes and separation from ancestral lands are processed.
 
 

每件器皿都講述著一個故事；它們被撕裂、劃破，佈滿粗獷的刻痕與溝紋。科薩族的身體割禮傳統在這些雕刻和切痕中得以重現，但也融入了新的方向。其中一個標誌性特徵是引入了充滿活力的色彩調，象徵野花與燃燒的土地。另一個特徵則是器皿局部的結構性崩塌，作為韌性的隱喻。Dyalvane 將這些「意外的美好」——那些倒塌、下垂和破碎的表面，視作可以重建力量的起點，平衡構圖，並再次創造。在這些交匯處，兄弟姐妹和表親的逝去被悼念和療癒，祖先土地被侵蝕與分離的歷史也得以被處理。

 

 

 

 

 

Framed by the spirit and energy of a village kraal (enclosure) or ceremonial gathering, the exhibition presents these monumental vessels in a circle, hovering around a central totem.  The statuesque figure is further ensconced in a horde of small drinking and cooking pots – each of which has been charred in a symbolic firing.  As Dyalvane has said, “it’s the spirit of fire without having a fire there and the idea of cleansing.” Symbolizing his own practice of gifting a small pot to a new homestead each time he visits his village in the Eastern Cape, Dyalvane seems to be invoking his communal gatherings where all are invited to take part, to reinforce connection, to energize and engage.  After all, bringing collective healing through these objects of exquisite craft and visual storytelling, is this ceramic healer’s gift to us.
 
 

 

展覽的框架仿如村莊的克拉爾圍欄（kraal）或儀式集會的精神和能量，這些巨大器皿以一個中央圖騰為中心，圍繞著它呈環形排列。這座雕像般的中心形象被一群小型飲水罐和烹飪罐包圍，每個罐子都經過象徵性的炭火燒製。正如 Dyalvane 所說：「這是無需點燃火焰的火焰精神，象徵著淨化的理念。」這些作品象徵了他每次回到東開普的家鄉探訪新居時，贈送小型陶罐的傳統。Dyalvane 似乎是在喚起他的集體聚會，邀請所有人參與其中，以加強連結，激發能量與互動。畢竟，通過這些精緻的工藝品與視覺敘事物件帶來集體療癒，是這位陶瓷療癒師送給我們的禮物。

 

 

 

 

 

 
 
 
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