Name: Press Release
Start: 2023-01-20
End: 2023-02-18
Location: David Zwirner

Christopher Williams

180HR15 Michelin XAS
Manufactured by: Tigar Tyres d.o.o., Pirot, Serbia, Est. 1935
Parent Company: SCA Compagnie Générale des Établissements
Michelin,
Clermont-Ferrand, France, Est. 1889
Studio Rhein Verlag, Düsseldorf
February 22, 2016, 2016

Selenium toned silver gelatin print

Print: 19 7/8 x 23 7/8 inches (50.5 x 60.6 cm)
Framed: 33 7/8 x 37 1/2 inches (86 x 95.3 cm)
Edition of 10, 4 AP

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Deeply political and historical, Christopher Williams’s (b. 1956) work addresses the visual and informational structures that define everyday life. Working in a variety of media, including photography, video, and installation, his multifaceted practice incorporates references to multiple sources and precedents, including the artist’s own ever-expanding inventory of imagery and discursive materials.

Writing about Williams's practice, Roxana Marcoci has noted that “Williams is a cultural worker who actively engages with ideas through intense use of montage, investigating the society that produces those images to create authorial inscriptions that are critical and reflexive, and both historically and geographically layered.”

克里斯托弗·威廉姆斯 (b. 1956) 的作品極具政治和歷史意涵，它們探討的是那些定義了日常生活的視覺及信息架構。他以攝影、視頻和裝置等一系列媒介進行創作，其多面向的實踐包含了對諸多素材來源及先例的指涉，包括藝術家自己不斷收集拓展的圖像性和話語論述性的素材資料。在提及威廉姆斯的實踐時，羅克珊娜·馬爾科奇（Roxana Marcoci）寫道：「威廉姆斯是一位文化工作者，他對蒙太奇的運用非常激烈，由此積極地深入各種思考，同時探究這個生產出那些具有批判性和反思性作者式銘文的社會，這些銘文兼具歷史性和地理性的層次豐富的意義。」

Christopher Williams, 180HR15 Michelin XAS / Manufactured by: Tigar Tyres d.o.o., Pirot, Serbia, Est. 1935 / Parent Company: SCA Compagnie Générale des Établissements / Michelin, / Clermont-Ferrand, France, Est. 1889 / Studio Rhein Verlag, Düsseldorf / February 22, 2016, 2016 (detail)

“[Williams] insisted practically from the start on international rather than predominantly West Coast or other American points of reference in his image.... He sidelines America on the world stage and suggests thereby that this country is not the only model for subject formation, questions of representation, or consumer desires in the postwar and contemporary eras.”

—Matthew Witkovsky, curator, The Art Institute of Chicago

「[威廉姆斯]從一開始就堅持在他的圖像中採用國際性而非西海岸或其他的美國參照……他把美國放在世界舞台的側幕，而且以此表明這個國家並不是戰後和當下的時代中主體性之形成、表徵性的問題或消費性慾望的唯一模式。」

——馬修·維特科夫斯基，策展人，芝加哥藝術博物館

Christopher Williams

Interflug Model: Iljuschin IL-62
Flight number: IF 882
Departure: 3:30 pm, SXF – Berlin Schönefeld, Berlin,
German Democratic Republic
Arrival: 5:40 pm, ALG – Houari Boumediene Airport, Algiers,
Algeria
Sunday, August 28, 1983
Studio Rhein Verlag, Düsseldorf
October 21, 2013, 2014

Inkjet print on cotton rag paper

Print: 14 1/2 x 18 inches (36.8 x 45.7 cm)
Framed: 30 x 33 1/8 inches (76.2 x 84.1 cm)
Edition of 10, 4 AP

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“Every object around us is at once very present and identifiable, but also the representative of multiple historical trajectories, economies and desires which you barely have to scratch the surface to start to get into.… I'm not interested in producing a clear signifier of my political position, but in exploring how these things are embedded in every aspect of our lives.”

—Christopher Williams

「我們周圍的每一件物品都既是當下的、可識別的，也是多種歷史性軌跡、經濟和慾望的表徵，你幾乎不用劃開物件的表面就開始進入了…… 我對明確自己的政治性立場並不感興趣，而是想要探索這些事物是如何地嵌入到我們生活中的方方面面。」

——克里斯托弗·威廉姆斯

Christopher Williams, Interflug Model: Iljuschin IL-62 / Flight number: IF 882 / Departure: 3:30 pm, SXF – Berlin Schönefeld, Berlin, / German Democratic Republic / Arrival: 5:40 pm, ALG – Houari Boumediene Airport, Algiers, / Algeria / Sunday, August 28, 1983 / Studio Rhein Verlag, Düsseldorf / October 21, 2013, 2014 (detail)

Christopher Williams

K-Line
Matt Dulling Spray
CFC Free
Applications
- Photographic
- Motion Picture
- TV Studio
Removes Glaring Highlights from Polished Surfaces in Camera
Work.
Coats evenly with a very fine spray pattern – it effectively dulls
any polished object to be photographed.
Directions
Shake the can well, and whilst spraying, hold not more than
30 cm (12 inches) from the object. The spray sets in about
2 minutes, and further coats may be added if necessary. It
wipes off easily with a soft cloth and all smears can be
removed with a little spirit.
K-Line spray is safe with most materials, but a test should
be made on a scrap surface if in doubt, especially with some
types of plastics.
Caution
Pressurised container.
Protect from sunlight and do not expose to temperatures
exceeding 50º C.
Do not pierce or burn even after use.
Do not spray on a naked flame or any incandescent material.
Keep away from sources of ignition – No Smoking.
Keep out of reach of children.
Do not breath spray.
Avoid contact with eyes.
Use only in ventilated areas.
Store at a minimum of 20º C
UN 1950
Extremely Flammable
2827
S W Kenyon
Cranbrook – Kent U.K.
Division of K-Line Photographic Supplies Company
Telephone: 01580 850770
Made in Britain
Registered in the US Patent and Trademark Office
Studio Rhein Verlag, Düsseldorf
August 24, 2014, 2014

Inkjet print on cotton rag paper

Print: 27 1/2 x 22 inches (69.9 x 55.9 cm)
Framed: 42 1/2 x 37 1/2 inches (108 x 95.3 cm)
Edition of 10, 4 AP

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The exhibition in Hong Kong features a number of works from Williams's series For Example: Dix-Huit Leçons Sur La Société Industrielle (2003–2014). Many images in this series, including the present work, feature or make reference to photographic devices and systems, offering an investigation into the spread of advertising and industrializing impulses following the Cold War. For instance, Williams found the motif for this work in a German photography magazine, where it was used to demonstrate how to photograph through water.

這次香港的展覽呈現了出自威廉姆斯《舉例說明：關於工業社會的十八節課》（2003-2014）系列的作品。系列中的許多作品，包括這裡的這一件，都呈現或是參考了攝影設備及其系統，對冷戰之後廣告和工業化脈衝的傳播提供了深入的研究。比如，威廉姆斯從一本德國攝影雜誌中找到了這件作品的主題，當時的那幅圖片被用來演示如何通過水進行拍攝。

Christopher Williams, K-Line / Matt Dulling Spray / CFC Free / Applications / - Photographic / - Motion Picture / - TV Studio / Removes Glaring Highlights from Polished Surfaces in Camera / Work. / Coats evenly with a very fine spray pattern – it effectively dulls / any polished object to be photographed. / Directions / Shake the can well, and whilst spraying, hold not more than / 30 cm (12 inches) from the object. The spray sets in about / 2 minutes, and further coats may be added if necessary. It / wipes off easily with a soft cloth and all smears can be / removed with a little spirit. / K-Line spray is safe with most materials, but a test should / be made on a scrap surface if in doubt, especially with some / types of plastics. / Caution / Pressurised container. / Protect from sunlight and do not expose to temperatures / exceeding 50º C. / Do not pierce or burn even after use. / Do not spray on a naked flame or any incandescent material. / Keep away from sources of ignition – No Smoking. / Keep out of reach of children. / Do not breath spray. / Avoid contact with eyes. / Use only in ventilated areas. / Store at a minimum of 20º C / UN 1950 / Extremely Flammable / 2827 / S W Kenyon / Cranbrook – Kent U.K. / Division of K-Line Photographic Supplies Company / Telephone: 01580 850770 / Made in Britain / Registered in the US Patent and Trademark Office / Studio Rhein Verlag, Düsseldorf / August 24, 2014, 2014 (detail)

In his own image, however, Williams intentionally seeks to highlight the artifice of the scene. Without any soap or food leftovers present on the pan, the work focuses on the action of submerging the pan, and in the process becomes an example of pure demonstration, with no practical reason behind it.

不過，在他自己的圖像中，威廉姆斯刻意地想要突出場景的虛假性。鍋子沒有了肥皂和食物殘留，使得作品能側重於浸沒鍋子的動作，並使其在整個過程中成為一個純粹的示例，而背後並無任何實用的理由。

Installation view, Christopher Williams: R59C Keystone Shower Door — Chrome/Raindrop, David Zwirner, Hong Kong, 2023 展覽現場圖，《克里斯托弗·威廉姆斯：R59C凱斯通浴室門 — 鍍鉻/雨花玻璃》，卓納畫廊，香港空間，2023年

Christopher Williams

Model #105M - R59C
Keystone Shower Door
57.4 × 59 in. Chrome/Raindrop
SKU #109149
#96235. 970 - 084 - 000
(Meiko)
Vancouver, B.C
April 6, 2005 (No. 1), 2005

Gelatin silver print

Print: 16 x 20 inches (40.6 x 50.8 cm)
Framed: 29 3/4 x 33 1/2 inches (75.6 x 85.1 cm)
Edition of 10, 1 AP

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Christopher Williams

Model # 105M - R59C
Keystone Shower Door
57.4 x 59", Chrome / Raindrop
SKU # 109149
# 96235. 970 - 084 - 000
(Meiko)
Vancouver, B.C. Wednesday, April 6, 2005, 2005

Gelatin silver print

Print: 16 x 20 inches (40.6 x 50.8 cm)
Framed: 29 3/4 x 33 1/2 inches (75.6 x 85.1 cm)
Edition of 10, 1 AP

Inquire

Other works in the series self-consciously mimic the affectation of generic commercial advertising. These images, with their retro styling and artificiality, strive to function as an archetype for everyday ads. However, examined closely, blemishes, pores, and fine lines make evident the lack of post-production digital enhancement and touch-ups utilized in mass media marketing today.

系列中的其他作品則自省地模仿了常見的商業廣告的效果。這些圖像，帶著復古的風格和人造的質感，努力地成為日常商業廣告的一種原型。不過，細看之下，圖中的瑕疵、毛孔和細紋都表明，圖像缺乏那些今天大眾媒介營銷中必定會使用的數碼後期製作和修飾處理。

Christopher Williams, Model # 105M - R59C / Keystone Shower Door / 57.4 x 59", Chrome / Raindrop / SKU # 109149 / # 96235. 970 - 084 - 000 / (Meiko) / Vancouver, B.C. Wednesday, April 6, 2005, 2005 (detail)

Christopher Williams, Model #105M - R59C / Keystone Shower Door / 57.4 × 59 in. Chrome/Raindrop / SKU #109149 / #96235. 970 - 084 - 000 / (Meiko) / Vancouver, B.C / April 6, 2005 (No. 1), 2005 (detail)

“For Example: Dix-Huit Leçons Sur La Société Industrielle is neither easy nor obvious.... If there is an affective logic to such work, it does not depend on the subject matter’s rationality, but on distinctions among images, a kind of playful noise discovered in the process of viewing.”

—Bennett Simpson, senior curator, The Museum of Contemporary Art, Los Angeles

「《舉例說明：關於工業社會的十八節課》既不簡單也不明顯…… 如果這類作品中具有某種表達情感的邏輯，那麼它並不取決於主題的合理性，而是取決於圖像之間的區別，一種在觀看過程中發現的饒富趣味的噪音。”」

——貝內特·辛普森，資深策展人，洛杉磯當代藝術博物館

Christopher Williams

Linhof 13x18 DPa. APa.
Doppelkassette / Double Plate and Cutfilm Holder / Châssis Double /
Chasis Double
- YZDD -
Manufactured by Linhof, Nikolaus Karpf K.G., Präzisions-Kamera-
Werke, München 25,
West-Germany
Studio Rhein Verlag, Düsseldorf
January 15, 2016, 2016

Selenium toned silver gelatin print

Print: 29 7/8 x 23 3/4 inches (75.9 x 60.3 cm)
Framed: 44 x 37 1/2 inches (111.8 x 95.3 cm)
Edition of 10, 4 AP

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“It’s a simple strategy: that there’s always a lot more to look at. It’s a way of not only using found imagery, but also gaining control over its production. In terms of the political implications of what I’m doing, it would be about creating the context for a certain kind of looking: to use an image associated with advertising, but create the conditions to slow down and look at it in a way that industrial images are almost never looked at. The art context is one of the few places where speculative thought and disinterested observation can still happen.”

—Christopher Williams

「這是一種簡單的策略：即，總是有許多東西可以去看。這不僅是一種使用既有圖像的方式，更是獲得了圖像生產的掌控。就我所做的事中隱含的政治意義來說，它所探討的是為某種特定的觀看創造語境：使用一張與廣告密切相關的圖片，但創造出境況來減緩速度並且以一種工業化圖像幾乎從未被如此觀看過的方式來觀看這些圖片。藝術語境，是為數不多可以進行推斷式思考和冷靜觀察的地方之一。」

——克里斯托弗·威廉姆斯

Christopher Williams, Linhof 13x18 DPa. APa. / Doppelkassette / Double Plate and Cutfilm Holder / Châssis Double / Chasis Double / - YZDD - / Manufactured by Linhof, Nikolaus Karpf K.G., Präzisions-Kamera-Werke, München 25, / West-Germany / Studio Rhein Verlag, Düsseldorf / January 15, 2016, 2016 (detail)

Christopher Williams

Afri-Cola (Ashtray), Manufacturer: E. & A. Böckling, 6956 Neudenau,
Germany, Date of Production 1980 - 1989, Photography by the
Douglas M. Parker Studio, Los Angeles, California, November 26,
2005. (Nr. 1 & 2), 2005

Chromogenic Print
Diptych

Print, each: 20 x 24 inches (50.8 x 61 cm)
Framed, each: 33 x 37 inches (83.8 x 94 cm)
Edition of 10, 4 AP

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Installation view, Christopher Williams: R59C Keystone Shower Door — Chrome/Raindrop, David Zwirner, Hong Kong, 2023 展覽現場圖，《克里斯托弗·威廉姆斯：R59C凱斯通浴室門 — 鍍鉻/雨花玻璃》，卓納畫廊，香港空間，2023年

Christopher Williams

Papiertaschen STANDARD
Griffe: Flachhenkel, weiß; eingeklebt mit Verstärkungsblatt zur
Erhöhung der Traglast
Kraftpapier; flachliegend geliefert
Grundfarbe: weiß
Grammatur: 100 g/m2
Standardformat (Breite x Tiefe x Höhe + Boden-/Seitenfalte): 13 x 6 x
17 + 4 cm
Farbigkeit: 4/4-farbig
Produkt ID: 10302885
Schweizerisches Sozialarchiv, Stadelhoferstr. 12, Zürich
(recto), 2018

Archival pigment print

Print: 33 x 26 inches (83.8 x 66 cm)
Framed: 48 5/8 x 41 1/8 inches (123.5 x 104.5 cm)
Edition of 10, 4 AP

Inquire

In the present trilogy of works, Williams presents a crinkled paper bag printed with an image from the "yes" campaign in Switzerland's 1971 referendum on women's right to vote. Switzerland was notoriously late to allow women voting rights, and in bringing attention to this through the use of a shopping bag, an object typically associated with a domestic act performed by women, Williams puts common understandings of gender roles and expectations at the center of his subject matter.

在這組三張的作品中，威廉姆斯呈現了一個皺巴巴的紙袋，上面所印的圖像出自1971年瑞士宣傳女性投票權的「贊成」活動。瑞士出了名地在很晚才通過女性的投票權，威廉姆斯通過使用購物袋——這種通常與女性居家行為關聯的物件——來引起人們的注意，把有關性別化的角色及其期望的共同理解置於創作主題的核心。

Christopher Williams

Papiertaschen STANDARD
Griffe: Flachhenkel, weiß; eingeklebt mit Verstärkungsblatt zur
Erhöhung der Traglast
Kraftpapier; flachliegend geliefert
Grundfarbe: weiß
Grammatur: 100 g/m2
Standardformat (Breite x Tiefe x Höhe + Boden-/Seitenfalte): 13 x 6 x
17 + 4 cm
Farbigkeit: 4/4-farbig
Produkt ID: 10302885
Schweizerisches Sozialarchiv, Stadelhoferstr. 12, Zürich
(verso), 2018

Archival pigment print

Print: 33 x 26 inches (83.8 x 66 cm)
Framed: 48 5/8 x 41 1/8 inches (123.5 x 104.5 cm)
Edition of 10, 4 AP

Inquire

Christopher Williams

Papiertaschen STANDARD
Griffe: Flachhenkel, weiß; eingeklebt mit Verstärkungsblatt zur
Erhöhung der Traglast
Kraftpapier; flachliegend geliefert
Grundfarbe: weiß
Grammatur: 100 g/m2
Standardformat (Breite x Tiefe x Höhe + Boden-/Seitenfalte): 13 x 6 x
17 + 4 cm
Farbigkeit: 4/4-farbig
Produkt ID: 10302885
Schweizerisches Sozialarchiv, Stadelhoferstr. 12, Zürich
(verso, folded), 2018

Archival pigment print

Print: 33 x 26 inches (83.8 x 66 cm)
Framed: 48 5/8 x 41 1/8 inches (123.5 x 104.5 cm)
Edition of 10, 4 AP

Inquire

Showing the white bag brightly lit against a black studio background, Williams mimics the conventions of museological documentation, with marks of aging on the surface to further recall historical artifacts. Williams hereby plays with the culture industry in general and the superficiality of surface, addressing both the apparatus of image production and the socio-political contexts for which such images are produced.

威廉姆斯在黑色影棚的背景下用明亮的打光拍攝了這個白色紙袋，他模仿了博物館文獻紀錄的慣例，展現出紙袋表面老化的痕跡，也讓人進一步地想起了歷史文物的展陳方式。威廉姆斯在這裡戲謔地指涉了普遍而言的文化產業以及物件表面的「膚淺」特性，他所探討的既是圖像生產的設備，也是生產這種圖像所涉及的社會政治背景。

Christopher Williams, Papiertaschen STANDARD / Griffe: Flachhenkel, weiß; eingeklebt mit Verstärkungsblatt zur / Erhöhung der Traglast / Kraftpapier; flachliegend geliefert / Grundfarbe: weiß / Grammatur: 100 g/m2 / Standardformat (Breite x Tiefe x Höhe + Boden-/Seitenfalte): 13 x 6 x / 17 + 4 cm / Farbigkeit: 4/4-farbig / Produkt ID: 10302885 / Schweizerisches Sozialarchiv, Stadelhoferstr. 12, Zürich / (verso), 2018 (detail)

Mobile wall systems are important to Williams's work, both as subject matter and a means of display. By exposing the physical structures on which works are shown, he offers a self-conscious commentary on the social and cultural contexts in which art acquires meaning. While Williams typically portrays wall systems within the exhibition space, this work shows the wall suspended within a monochrome black space, furthering the commentary on the conventions of museological documentation examined in the grocery bag images above.

移動展牆系統，對威廉姆斯的創作來說非常重要，既作為拍攝的主題也作為作品展示的手段。通過顯露出作品被展示的物理結構，他對藝術在其中獲得意義的那種社會和文化語境進行了自覺的評述。儘管威廉姆斯通常將展牆系統放置在展覽空間中進行描繪，不過這件作品呈現的展牆懸浮於單色的黑色空間之中，與上述的購物袋圖像一致，更進一步地註釋了有關博物館文獻紀錄之慣例的思考。

Christopher Williams

Wall from the exhibition Mathias Poledna/Christopher Williams, 7
February – 26 April
2009, Bonner Kunstverein, Bonn
Exhibited in The Production Line of Happiness, 29 April – 21 June,
2015, Whitechapel
Gallery, London
Mobile wall system designed and constructed by Bonner Kunstverein,
Bonn
plywood, metal, wood, and ink on PVC-free wallpaper
350 × 350 × 57 cm
Courtesy Bonner Kunstverein, Bonn
Wallpaper printed and installed by Omni Colour, London
Studio Rhein Verlag, Düsseldorf
August 20, 2016
(Recto), 2016

Inkjet print on cotton rag paper

Print: 33 3/4 x 27 inches (85.7 x 68.6 cm)
Framed: 47 3/8 x 40 1/8 inches (120.3 x 101.9 cm)
Edition of 10, 4 AP

Inquire

Installation view, Christopher Williams: R59C Keystone Shower Door — Chrome/Raindrop, David Zwirner, Hong Kong, 2023 展覽現場圖，《克里斯托弗·威廉姆斯：R59C凱斯通浴室門 — 鍍鉻/雨花玻璃》，卓納畫廊，香港空間，2023年

“The work is a kind of open-ended research project that sidesteps conclusions. What seems rational and systematic is seeded with omissions, similarities, contradictions, repetitions—a subtle magnification of the inconsistencies and inadequacies inherent in any attempt at totalizing thought. The audience of Williams’ art is encouraged to uncover and follow the trail of red herrings he leaves.… In this way the work strategizes to elude closure, calling a varied set of cultural assumptions into question.”

—Benjamin Weissman, critic

「這是一種開放式的、避開了結論的研究項目。看似理性和系統化事物，實則充滿了遺漏、相似、矛盾、重複——微妙地放大了那些企圖聯結思想的努力中所固有的種種不一致和不足。威廉姆斯藝術的觀眾，深受鼓舞地去發現並追踪他留下的那些轉移注意力的觀點……通過這種方式，作品策略性地迴避了結論，對一系列不同的文化性設定提出了質疑。」

——本傑明·威絲曼，藝評人

Christopher Williams

∆d = df - dn (Harvest Season) Studio Rhein Verlag, Düsseldorf,
December 17, 2016, 2017

Archival pigment print

Print: 25 x 31 3/4 inches (63.5 x 80.6 cm)
Framed: 40 5/8 x 46 7/8 inches (103.2 x 119.1 cm)
Edition of 10, 4 AP

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Many of the works on view were informed by the artist’s interest in two Cold War era publications: Ty i Ja (You and I), a Polish magazine created by the Women’s League that focused on domestic life, fashion, and culture, and Lui (Him), a French pinup magazine specializing in female nudes and erotica. The artist assembled detailed archives for each, which were then adapted to produce works reflecting on the social conditions of everyday life.

展覽中的許多作品深受藝術家對兩本重要的冷戰時期出版物的興趣所啟發：《你和我》（Ty i Ja），這本波蘭雜誌由婦女聯盟創辦，專注於家庭生活、時尚和文化；以及《他》（Lui），一本法國的限制級雜誌，專注於女性裸像和情色內容。藝術家為每本雜誌彙編了詳盡的檔案，隨後歷經改編後創作出反映了日常生活之社會境況的作品。

Cover of the July 1973 issue of Lui Magazine《他》（Lui）雜誌1973年7月刊的封面

Christopher Williams, ∆d = df - dn (Harvest Season) Studio Rhein Verlag, Düsseldorf, / December 17, 2016, 2017 (detail)

For example, the subject matter for the present work was chosen by Williams as a tongue-in-cheek stand-in for the pin-up girl, a common photographic subject in issues of Lui (Him). Depicted here against a bright blue studio backdrop, stalks of wheat were ubiquitous in advertisements and graphics within the food industry and typically associated with sustenance, health, abundance, and fertility.

舉例來說，威廉姆斯選擇的這件作品的主題，半開玩笑地選擇了一個海報女郎的替代，這是《他》雜誌中常見的攝影主題。在這裡，畫面以明亮的藍色影棚的背景呈現了麥稈，它在食品行業的廣告和圖像中隨處可見，而且常常與營養、健康、富足和豐饒相關。

Christopher Williams

Best.Nr.: 68011, Best.Nr.: 28856, Best.Nr.: 28856
Devoid of any creative airs and graces, well-proportioned and of
recogni-
sable quality. The basic material – cold forged aluminum with high
material
thickness – is not only one of the best heat conductors, but also
extremely
light and therefore easy to handle. With a constant thickness, the pots’
bases ensure even heat distribution and perfect thermal absorption.
Rea-
ching cooking temperature the pan fully stabilizes and adjusts itself
perfect-
ly to the stove. The resilient stainless-steel tube-shaped handles reduce
heat transmission. Low maintenance and ruggedness are increased by
the
ceramic-enhanced non-stick coating of the internal surfaces. Still, we
re-
commend considerate handling by using proper tools. Not suitable for
in-
duction hobs. All lids are interchangeable in equivalent sizes.
Material: brushed aluminum – dishwasher safe
Sauce Pan, with handle: Dimensions: Ø 20 x 8 cm / Capacity: 2.3 L /
Weight:710g
Stew Pot: Dimensions: Ø 28 × 16.5 cm / Capacity: 9.2 L / Weight:
1.6kg
Studio Rhein Verlag, Düsseldorf
January 26, 2017, 2017

Archival pigment print

Print: 27 x 34 1/4 inches (68.6 x 87 cm)
Framed: 42 5/8 x 49 1/4 inches (108.3 x 125.1 cm)
Edition of 10, 4 AP

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Similarly, in the present work, Williams plays with the gendered conventions embedded within the subject matter: cooking utensils have traditionally been associated with women, but are increasingly designed to appeal to a male audience. With this in mind, Williams presents the pots and pan against a gray studio backdrop in such a way that brings to mind automobile advertisements, which are typically marketed toward men.

類似地，在這件作品中，威廉姆斯饒富趣味地探討了拍攝主題所蘊含的與性別相關的慣例：烹飪用的廚具在傳統上與女性相關，但它們現在越發設計得吸引男性受眾。有鑑於這一點，威廉姆斯在灰色影棚的背景前呈現了這些鍋具，這種方式讓人想到了通常面向男性的汽車廣告。

Christopher Williams

Untitled
(Beauty, happiness at ground level. A carpet of pure new wool
embellishes everything
that it touches. If you have never seen your furniture on a beautiful
carpet, then you have
never seen it. If you have never walked barefoot, in your house, on the
softness of wool,
then you are ignoring a great pleasure. Because a good carpet, of true,
vibrant, natural
wool, makes life more beautiful. Strict laboratory tests have verified all
the qualities of
the velvet, 100% pure new wool carpets that merit the Woolmark label:
purity, strength,
comfort, sound- and thermal-insulation, resistance of colors, non-
inflammability, easy
maintenance, permanent moth-proof treatment. Choosing a carpet is a
serious matter. A
matter of happiness. So, always check the Woolmark label. You will be
certain to have a
carpet of 100% pure new wool. You will be certain that you are making
the best
business. In pure new wool, it‘s a real carpet. Ask for Woolmark.)
Studio Rhein Verlag, Düsseldorf
February 29, 2016, 2016

Inkjet print on cotton rag paper

Print: 24 x 20 inches (61 x 50.8 cm)
Framed: 38 1/8 x 33 1/4 inches (96.8 x 84.5 cm)
Edition of 10, 4 AP

Inquire

Christopher Williams, Untitled / (Beauty, happiness at ground level. A carpet of pure new wool / embellishes everything / that it touches. If you have never seen your furniture on a beautiful / carpet, then you have / never seen it. If you have never walked barefoot, in your house, on the / softness of wool, / then you are ignoring a great pleasure. Because a good carpet, of true, / vibrant, natural / wool, makes life more beautiful. Strict laboratory tests have verified all / the qualities of / the velvet, 100% pure new wool carpets that merit the Woolmark label: / purity, strength, / comfort, sound- and thermal-insulation, resistance of colors, non- / inflammability, easy / maintenance, permanent moth-proof treatment. Choosing a carpet is a / serious matter. A / matter of happiness. So, always check the Woolmark label. You will be / certain to have a / carpet of 100% pure new wool. You will be certain that you are making / the best / business. In pure new wool, it‘s a real carpet. Ask for Woolmark.) / Studio Rhein Verlag, Düsseldorf / February 29, 2016, 2016 (detail)

Christopher Williams

Model-Nr.: 1421, Model-Nr.: 2401, Model-Nr. 92173, Model-Nr. 92182
(Negotiation)
Studio Rhein Verlag, Düsseldorf
January 21, 2017, 2017

Archival pigment print

Print: 21 x 26 1/4 inches (53.3 x 66.7 cm)
Framed: 36 1/2 x 41 1/4 inches (92.7 x 104.8 cm)
Edition of 10, 4 AP

Inquire

Christopher Williams

Model-Nr.: 1421, Model-Nr.: 2401, Model-Nr. 92173, Model-Nr. 92182
(Discussion)
Studio Rhein Verlag, Düsseldorf
January 21, 2017, 2017

Archival pigment print

Print: 21 x 26 1/4 inches (53.3 x 66.7 cm)
Framed: 36 1/2 x 41 1/4 inches (92.7 x 104.8 cm)
Edition of 10, 4 AP

Inquire

In the two works above, Williams shows children looking out the back window of a vintage Dacia, a Romanian car that was popular in the Eastern Bloc. The driver appears to be a woman, but the artist leaves any further clues to a narrative open-ended. The subject matter relates to Williams's broader interest in the value systems and associations that define the individual within society.

In a self-reflective comment on the medium, the artist cued the warm yellows and browns of their sweaters to colors associated with the Kodak company. As he has pointed out, these colors signal domesticity—in particular evoking a 1960s and 1970s aesthetic—but are also predominant in much photojournalism, thus comprising conflicting chromatic associations. Though the car depicted was produced in the Eastern Bloc, the image itself closely mirrors the format and appearance of Western car advertisements from the 1960s and 1970s.

在上述這兩件作品中，威廉姆斯表現了從老款達契亞汽車後窗看到的幾個孩子，這是一款在「東方集團」期間非常流行的羅馬尼亞的車。司機看起來是位女性，但藝術家將有關敘述的更多線索留待觀眾開放解讀。作品的主題與威廉姆斯對社會中定義個人價值體系和關聯的廣泛興趣有關。

在對攝影媒介的自我反思中，藝術家將模特們毛衣的暖黃和棕色，同柯達公司關聯起來。正如他所說，這些顏色象徵著居家的特性——尤其喚醒了1960和1970年代的美學風格——但這種顏色在許多新聞攝影中也同樣佔據主導地位，因此構成了一對相互衝突的由色彩引發的關聯。而儘管照片中的汽車是東歐國家生產的，但圖像本身密切地反映出1960和1970年代西方汽車廣告的形式及外觀。

Christopher Williams, Model-Nr.: 1421, Model-Nr.: 2401, Model-Nr. 92173, Model-Nr. 92182 / (Negotiation) / Studio Rhein Verlag, Düsseldorf / January 21, 2017, 2017 (detail)

“Pretty early on in my work you can see a concern with the performative, sculptural displacement, and the distribution and circulation of commodities. Photographs exist as autonomous units with their own history and their own narrative, but within a group there is also a tension between them: this is what makes considering them as flexible, changeable units within a larger group of images super interesting to me.”

—Christopher Williams

「從很早開始你就會在我的作品中看到有關『表演性』、雕塑式錯置以及商品之分配流通的一種思考。照片作為自主的單位而存在，帶著自身的歷史和敘述，但又身處一個彼此間有張力的群體之中：這就是為什麼我覺得極其有趣的是，將它們理解為更宏大圖像群體中靈活而可變的單元。」

——克里斯托弗·威廉姆斯

Installation view, Christopher Williams: R59C Keystone Shower Door — Chrome/Raindrop, David Zwirner, Hong Kong, 2023 展覽現場圖，《克里斯托弗·威廉姆斯：R59C凱斯通浴室門 — 鍍鉻/雨花玻璃》，卓納畫廊，香港空間，2023年

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