娄依伦

《美术手帖》于2019年7月4日发布于（翻译）

https://mp.weixin.qq.com/s/Qplu4-Pas-sftR305uLFMA

古斯塔夫・克里姆特在1897年创立了分离派，这也是克里姆特走上自我风格的道路的开端。绚烂的黄金图案与私人生活中的风流逸事让克里姆特给人们一个华丽的印象。但在追求自我风格的道路上，他也经历了与保守的维也纳艺术界的对抗。本文将聚焦于克里姆特艺术生涯中的维也纳分离派时期，同展览“克里姆特展”和“现代维也纳”的展出作品一起，追溯他的战斗轨迹。

古斯塔夫・克里姆特　贝多芬横饰带（局部）　1984（全尺寸复制品/原版创作时间为1901-02）　216×3438cm　奥地利美景宫美术馆　© Belvedere, Vienna　※ “克里姆特展”展出作品

维也纳分离派的诞生——克里姆特与维也纳大学的天花板画事件

在19世纪后半叶的欧洲，尤其是在法国诞生了印象派和后印象派等崭新的艺术流派，画家们都渐渐离开传统路径开始寻求自我风格。但是，由保守的艺术协会“艺术家之屋（Kunstlerhaus）”支配的维也纳艺术界仍在不断重复着数百年前的传统。20多岁的克里姆特也曾是其中一员。他因使用传统的技法描绘神话等主题的装饰画而受到高度评价，26岁时还受到皇帝的勋章嘉奖。

然而克里姆特对于用传统技巧描绘固定题材的现状并不知足，想要寻求自己的全新的表现方式。1894年，克里姆特接受了维也纳大学天花板画的工作。两年后他提交的草稿作品引起了轩然大波。他并没有按传统的方式去表现客户要求的“医学”“法学”“哲学”等主题，而是采用了自己的诠释方式。

已被焚毁的古斯塔夫・克里姆特《医学》（1899-1907）　图片来源=Wikipedia Commons

尤其是《医学》（1899-1907）的左上角漂浮着的女性裸体等露骨的性描写对于大学内部人士来说，与严肃的学术场合极不匹配（在那之后克里姆特仍然创作并公开了这些作品，然而由于所引发的激烈争议，最后合约被解除）。

通过这个事件，克里姆特深刻地感受到了维也纳艺术界的封闭性与其对新的表现形式的抗拒。提交草稿后的第二年，克里姆特和其他反对保守派的年轻艺术家一起退出了艺术家之屋。由此，一个崭新的艺术团体“维也纳分离派“就诞生了。

古斯塔夫・克里姆特　第1届维也纳分离派展览海报（审查后）　1898　彩色石版画　97x70cm　维也纳博物馆馆藏　© Wien Museum / Foto Peter Kainz　※ “克里姆特展（东京）”和“现代维也纳”的展出作品

参与者不仅有画家，还有雕塑、工艺、建筑等不同领域的艺术家，风格各异，但都以背离传统的“分离”与“寻找崭新艺术表现形式”为目标。随后，在1898年建成的专属展示空间“分离派馆（Secessionsgebäude）”的入口就镌刻着以下名言：“给时代以该时代的艺术，给艺术以自由。”

《帕拉斯・雅典娜》——决意的表明

1898年，在分离派馆举办的第2届维也纳分离派展上，克里姆特展出了被誉为分离派的象征的作品《帕拉斯・雅典娜》。

古斯塔夫・克里姆特　帕拉斯・雅典娜　1898　布面油彩　75x75cm　维也纳博物馆馆藏　© Wien Museum / Foto Peter Kainz　※ “现代维也纳”展出作品

雅典娜是希腊的智慧与战争女神。在神话中常常作为引领英雄们的角色出现，在艺术上则通常用穿着盔甲的女性形象来表现。在艺术上提到女神的话，就会联想到维纳斯一样美丽而优雅的女性形象。但若女神是从黑暗的背景中浮起、身着金色盔甲的话？

头部被冰冷光滑的金色头盔所大面积覆盖，其下露出的眼睛一眨不眨地凝视着你。红唇一线般紧闭，给人以阴冷且难以接近的印象。此外，她单手拿着长柄武器，似乎无论发生了什么都会毅然绝然，毫无摇摆与后退。

在这里的并不是美丽而优雅的、以描绘艺术史上理想女性裸体为借口而被利用的“女神”，而是一位宽大地庇佑并引导信徒，对敌对者毫无宽容地予以惩罚，值得依靠，发怒的话也许比男神更为可怖的女“神”。

克里姆特取材于古代希腊世界，使雅典娜在现代社会语境中重现。他寻求崭新的艺术表现方式，守护反叛的“分离派”，成为了该流派的领军人物。当把视线移到女神的胸前的时候，能看到一个伸着舌头嬉笑的怪物戈耳工的装饰物。戈耳工的表情描绘得极为滑稽，与女神形成了鲜明的对比。这就像对那些无法理解崭新的艺术形式的人们，以及他们所紧紧抱住的传统嗤之以鼻一样。

无论是在哪个领域，自己开辟新的道路并持续前进都不是一件容易的事情。这幅《帕拉斯・雅典娜》就是踏上新道路的克里姆特们的坚定决心的表现。

《贝多芬横饰带》——综合艺术的志向

1898年到1905年的7年间，维也纳分离派共举办了23次展览，不但展示了分离派的艺术品，也介绍了同时代的例如日本和法国等外国艺术。与国外艺术的交流和实践也成为分离派自身发展的养分。

此外，分离派还借由展览的形式尝试了被称为“综合艺术”的概念。最早的例子就是在1902年举办的以贝多芬为主题的第14届分离派展。

首先，在一名成员设计的展厅中央摆放德国雕刻家马克斯・克林盖尔（Max Klinger）制作的大型贝多芬像。然后其他的分离派成员将绘画、家具等在自己拿手的领域中创作的致敬贝多芬的作品围绕在贝多芬雕塑旁。克里姆特的作品则是覆盖展示厅三面墙壁的壁画《贝多芬横饰带》（1901-1902）。

古斯塔夫・克里姆特　贝多芬横饰带（局部）　1984（全尺寸复制品/原版创作时间为1901-02）　216×3438cm　奥地利美景宫美术馆　© Belvedere, Vienna, Photo by Johannes Stoll　※ “克里姆特展”展出作品

横饰带是指像画轴般横向展开的作品。这件作品则以贝多芬的《第九交响曲》为灵感，描绘了身着黄金甲胄的骑士们，为了追求幸福而直面敌对势力，直至伊甸园的故事。整个故事被分为三部分展现，总长计34米。

故事的结局，也被称为《欢乐颂》的第四乐章是右侧的壁画。伊甸园里的天使们手持花朵，在高处合唱着《欢乐颂》，赤身裸体的男女拥抱和亲吻。这是第四乐章歌词中提到的“让亲吻布满世界”的具象化体现。

笼罩全身的金色光芒，以及拥抱的男女头顶上火焰般的图案，使画面整体散发着欢乐的能量。在展览开幕当天，作曲家古斯塔夫・马勒（Gustav Mahler）还在展厅内演奏了自己重新编曲的《第九交响乐》的第四乐章。

如此这般，展厅的设计（建筑）、雕塑、绘画和音乐等所有领域的艺术，跨越了界限，通过“贝多芬”主题连结在一起，成为一件壮大的作品。

无论是为维也纳大学绘制的《医学》还是《贝多芬横饰带》，克利姆林的作品总是被当作批判的对象，但仍有人赞赏他的画作。正因为如此，他在批评和中伤中仍能够前进，并继续战斗。其结果便是，克利姆林作为一位有鲜明个人风格的艺术家，在历史上留下了浓墨重彩的一笔。

“克里姆特展”使用原尺寸的复制品，再现了《贝多芬横饰带》的展览空间，在那里能够体会到克里姆特倡导的“综合艺术”。在“现代维也纳”展不但能看到克里姆特的画作，还能看到其他维也纳分离派成员的作品。读者们还是亲自去到两个展览现场一睹克里姆特和维也纳分离派所追求的理想状态吧。

翻译=娄依伦

克里姆特展：维也纳与日本1900

展期：2019年4月23日〜7月10日

会场：东京都美术馆

地址：东京都台东区上野公园8-36

开放时间：9:30〜17:30（周五〜20:00）　※最终入场到闭馆30分钟前为止

门票：普通 1600日元 / 大学生・专门学校学生 1300日元 / 高中生 800日元 / 65岁以上 1000日元 / 中学生以下免费

巡回：爱知展（2019年7月23日〜10月14日，丰田市美术馆）

现代维也纳 克里姆特、席勒 通往世纪末的道路

展期：2019年4月24日～8月5日

会场：国立新美术馆　企画展示室1E

地址：东京都港区六本木7-22-2

电话：03-5777-8600

休馆日：周二

门票：普通 1600日元 / 大学生 1200日元 / 高中生 800日元 / 中学生以下免费

In recent years, we have witnessed a rapidly growing number of art fairs all over the world. Among the fierce competition, the most attractive and well-known art fair must be Art Basel. It is held three times a year in three different locations around the world, including Basel, Hong Kong and Miami Beach.  

This year’s Art Basel in Switzerland is open from June 16 to June 21. The first three days are reserved for collectors who received invitations. Public days starts from June 17, and it is expected to attract plenty of people who come to visit.

Art Basel is mainly composed of five sectors: galleries, feature, statements, edition, and unlimited. The unlimited sector is the most popular one, because this exhibition includes large-scale installation artwork, live performance, massive sculpture and painting. In other words, it is perfectly suitable for Instagram posting. My trip also starts from this sector.

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Fair is open at 11:00 AM, but one hour ahead of the opening time, there are already lots of people gathering in front of the hall, and some people were sitting inside. Few minutes to 11:00, visitors are waiting and talking in front of the gate excitedly and I am one of them.

I stayed in this sector for one hour and a half. It is an enormous space with many pieces of artwork scattered around. Some of the artwork needs to line up for a while. After viewing all the artwork, I have to say that it is not amazing enough for me. Some artworks are made for catching up with the trend rather than expressing meaningful and thoughtful messages. Buzz words like VR and minority group are used by several artists to show off their updated awareness towards to the world trend. However, the overall organization is quite impressive. There are enough seats for visitors to rest. The organizer also leaves enough space among each artwork, so that people can stop and discuss without bothering the following visitors. Each artwork is numbered and provide a description paper. Volunteers are also standing next to the artwork, who you can ask without hesitate. 

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After the unlimited sector, I move to Hall 2, where has galleries, statement and edition located.

The galleries part’s excellence exceeds my expectation. Here you can have an overlook of the worldwide art gallery scene. There are galleries that sell blue chip artists’ artwork, for instance, Picasso, Degas, and Monet. Moreover, some galleries bring up fresh and emerging artists to the audience. You will never feel bored while walking around. Every booth contains its own tiny world. 

The most eye-catching gallery must be Jeff Koons’s artwork Sacred Heart at Gagosian’s booth: a large pink heart with a yellow ribbon. The smooth surface works like a mirror to reflect the people approach it. Security staff in a black suit and stands still beside this pink heart. At the same time, people are changing their poses and facial expressions constantly in order to get the best photos of the day.

There is a gallery that lights up my day, which is Perrotin Gallery. Perrotin divides their booth into several rooms, and each room has painted in different colors to match with the theme. Their booth has three floors, and artwork is placed in every empty space, like the corner and along the stairs. I am so happy when I saw the artwork from Italian artist Paola Pivi. Colorful polar bears were dancing on the stairs to welcome the visitors.

I only leave one day for Art Basel, but one day was definitely not enough for me to look through all the galleries. The fair organizer has forecasted this situation, so that visitors can easily find empty seats to rest and find food truck/booth to order some snacks and drinks for refreshment. 

Except for Art Basel fair, Basel city has lost of other events and important exhibitions hold at the same time. Nearby the Art Basel Hall, there are several art fairs with various styles, including Volta, LISTE, Photo Basel, Scope and Design Miami. 

Basel in June is a feast of art waiting for you to explore. 

WORDS BY LOU YILUN

美术手帖于2019年7月1号发布于（翻译）

https://mp.weixin.qq.com/s/GRwL2atjgFUrNlwzl7pQhQ

5月31日，费城艺术博物馆策展人在互联网上公开了一份名为《艺术与博物馆薪酬透明2019》的谷歌文档。这个文档包含了主要美术馆和画廊等艺术从业人员自己申报的薪酬数据。这个文档一瞬间就传遍了全球艺术界，并引起关于“薪酬透明化”的讨论。相关数据都揭示了哪些问题？我们来一起回顾事件的经过和背景。

惠特尼美术馆外观　Photo by Ed Lederman © 2016

《艺术与博物馆薪酬透明2019》公布者是费城艺术博物馆欧洲装饰艺术与设计部门策展助理米歇尔・米勒・费雪（Michelle Millar Fisher）。费雪曾在纽约现代艺术博物馆（MoMA）、大都会艺术博物馆和古根海姆美术馆任职。她说：“在多年以前，我就开始思考薪酬透明和多因素导致的酬劳不平衡问题。在那之后的每次职业交流会上，我都会分享自己迄今为止从事过的工作的薪酬。”在今年，费雪据说受到策展人金柏莉・德鲁（Kimberly Drew）做的类似尝试的鼓舞，所以就和同事一起制作了这个文档并公之于众。

《艺术与博物馆薪酬透明2019》将艺术从业人员的薪酬情况收集并公开。数据提供采用不记名方式，有工作地点/工作机构性质（美术馆、画廊等）、职位、部门、国家与城市、起薪、当前薪水、雇佣性质、奖金、工作年数、孕假、性别、种族和学位等栏目可以输入。会暴露数据提供者身份的信息则不需要提供。

到现在文档已经公布了三周左右（译注：原文发表截点），已经有2500多条录入。大多数来自于美国，也有欧洲和亚洲的数据。除了艺术行业内的各种职位的薪酬、还有在企业收藏、博物馆和动物园工作的人们提供的信息，即便是对想要了解文化机构相关工作的人来说也是有用的数据。

以纽约的策展人为例

举个例子，从纽约的策展人方面来分析一下该文档数据。本文选取的数据是纽约现代艺术博物馆（MoMA）、惠特尼美术馆、大都会艺术博物馆和古根海姆美术馆策展相关职位人们的最新薪酬（未提供最新薪酬的、以小时计酬的数据除外）。

以《艺术与博物馆薪酬透明2019》为基础做成的图表（职位沿用原数据。于6月17日提取数据）

最引人注目的是纽约现代艺术博物馆的主策展人薪酬。在其他美术馆数据不足的情况下，难以判断薪酬是否过高，但是依然是高薪职位。

同一家的美术馆的研究员与主策展人之间有10倍的薪水差异。以这个数据为契机，人们对从研究员到主策展人需要多少年，职业发展路径图是怎样，需要在怎样的竞争中脱颖而出等问题津津乐道。

大都会艺术博物馆的数据中，8个里有5个提到“就职需要有博士学位”。和其他的美术馆比起来要严苛地多，但学历上的优势并没有反映到薪酬上。

和其他的专业一样，美国的艺术系学位的学费并不便宜。去哪个学校，家在哪里，是否获得奖学金等因素虽然会大幅度影响求学成本，但若要取得知名私立大学的研究生学位，光是学费就要20万美元左右（约为127万人民币）。

除了纽约的生活费，这个数字还要考虑到花费的教育成本和学贷的偿还等。此外，纽约平均年收入为6万9932美元（约为48万人民币），但是列表中大多数职位的薪酬低于平均。

无酬实习的情况

美国大学生取得学位一般需要有实习经历这一项。但是艺术界的实习大部分都是没有报酬的，对此“恶习”的抗议声比之前更大了。

《艺术与博物馆薪酬透明2019》里美国国内实习数据有55条。其中，17条有报酬，38条无报酬。知名美术馆的实习大多是没有报酬的。

在带薪实习中薪酬最高的是国家美术馆（华盛顿DC），月薪3200美元（约2万2千人民币）。接下来是保罗・盖蒂博物馆（洛杉矶）年薪为3万美元（约20万6千人民币）。其他的多为按时计薪，每小时在9-20美元之间（约62-137人民币）。

国家美术馆（华盛顿DC）外观　图片来源=Wikimedia Commons

超级画廊高古轩的时薪为13.50美元（约93人民币），卓纳画廊为11美元（约76人民币）。考虑到纽约市最低时薪为15美元（约103人民币），这些画廊的时薪都低于最低工资。因为实习生不是正式员工，把时薪限定在最低工资标准以下本身虽然没有问题，但这个现状很有可能是“把免费当作理所当然”的业界惯例所导致的。

严肃的讨论和改变的开始

《艺术与博物馆薪酬透明2019》的发起人费雪对ARTnews表态：“希望这个数据可以成为一个契机，让同行之间开始对话。如果不行动的话，什么都不会改变。有时候，即使是小小的行动也会带来转机。团结一致是催动巨大的改变的唯一办法。”

该文档里的样本因为需要保护隐私，信息不足，难以支撑深度分析。但是这对艺术界在推动劳工关系问题的解决和改善的讨论上是重要且珍贵的数据。如果要考虑性别和种族因素的话，还需要更多的样本，丰富的数据是激活业界讨论的不可或缺的一环。

迄今为止的艺术行业有“供过于求导致的激烈竞争”“除了经验之外人脉也很重要”“利用劳动者的热情压低薪酬”“富人们的社会实践，对薪水的谈判并不重视”等很多要素导致了低薪与薪酬不平衡。《艺术与博物馆薪酬透明2019》并不能给以上推测下定论，但仍然给了很多人重新思考的窗口。

翻译=娄依伦

美术手帖于2019年6月28日发布（翻译）

https://mp.weixin.qq.com/s/ehKawMp-ST0z1YHPz11Ipg

克里斯蒂安・波尔坦斯基（Christian Boltanski）在日本举办历年来规模最大的回顾展“Lifetime”（国立新美术馆）的同时，在东京路易威登艺术空间（Espace Louis Vuitton Tokyo）也推出了一个聚焦于影像装置作品的个展“Animitas II”。围绕本次两个展览，2016年策划了波尔坦斯基个展的东京都庭院美术馆策展人田中雅子，和他聊了作为“神话”的“Animitas”系列和关于艺术本身的思考。

克里斯蒂安・波尔坦斯基　摄影=稻叶真

成为神话的“Animitas”

——首先我想先聊聊路易威登艺术空间里的绝对主角——系列作品“Animitas”。以智利的阿塔卡玛沙漠（Desierto de Atacama）为开端的该系列作品是如何被创作出来的，以及又是如何完善的？
阿塔卡玛沙漠是一个特别的地方。海拔高度为4000米，是世界上最为干燥的地方。在那里能够更直接地感受星星与天空，也有天文观测站设立在那里。在同一地点也埋葬着因智利军事独裁政权而牺牲的人们，汇聚着他们的亡灵。因此在那谁也找不到的地方创作了作品，而且那件作品也已经悄无声息地消失了。

Animitas（智利）　2014　full HD视频、彩色、声音　13小时6秒　Courtesy Marian Goodman Gallery and Fondation Louis Vuitton　© Adagp, Paris 2019　Photo by Francisco Rios

在那之后，我又制作了三件《Animitas》，分别在以色列的死海、加拿大魁北克的雪中和日本丰岛。其中，位于丰岛的作品与其它几件作品略有区别，是现在唯一保留下来的作品。

我相信有灵魂的存在，“Animitas”就是一系列和灵魂有关的作品。我用固定摄影机记录下从日出到日落一整天的影像。每个地方对我来说都有象征意义。阿塔卡玛沙漠离星星很近，魁北克是能到达的最北的地方，死海对所有宗教来说都是重要的地点。丰岛对我个人来说是很重要的场所，我希望《Animitas（呢喃的森林）》和《心跳档案馆》能变成圣地一样地方。

——如果“Animitas”系列和迄今为止的作品相比较的话，感觉它更加沉稳、更加寂静，能触动观赏者的情绪。

这的确是一系列沉稳的作品。在战争的日子结束后，进入另一个地点——死者的世界——存在的感觉。这不仅仅是影像作品，也是一件装置作品。不单单只是站在作品前，而是要进入它。这就是我所设想的效果。

——国立新美术馆展示的影像装置作品《Misterios》（2017）和“Animitas”一样，也是将目光投向了自然，也就是人类的外部环境。这可以说是一脉相承了？

《Misterios》是在巴塔哥尼亚拍摄的，那里的原住民认为鲸是能感知时间开端的动物。巨大的筒状喇叭一样的装置，风穿过其中就能发出“鲸的语言”。这当然是虚拟的，我想向鲸询问“我们为什么在此时此地？”。

无论是《Misterios》还是“Animitas”，我都称他们为“神话”。在多年之后，这些巨大的圆筒会因为大风而被摧毁。我的名字也湮没成灰。但是，巴塔哥尼亚地区的人们会口耳相传说“有个男人来到这里，与鲸鱼对话了”。这没准就变成了一个“传说”。

在丰岛的《Animitas（呢喃的森林）》（2016）和《心跳档案室》（2008）也是一样，“这是艺术家波尔坦斯基的作品”这句话有一天会被忘记，但那个场所却成为古老的寺庙和神社一样的圣地。日本的普通人在不知道我是谁的前提下，为聆听祖先的心跳声而来到这里。

东京路易威登艺术空间现场，《Animitas（呢喃的森林）》（2016）　Courtesy of the Fondation Louis Vuitton　Photo by Jérémie Souteyrat　© Adagp, Paris 2019

艺术家应持续发问

——您经常说“通过作品来提出问题是非常重要的”。这并不是一件简单的事，您是如何能做到持续发问的呢？

这个世界是非常残酷的。我虽没有什么宗教信仰，在我们之上如果真的存在着某种力量的话，那股力量为什么要任凭可怕的事情发生呢？追求真理是人类精神的一部分。每一个人都想弄明白为什么会有那么多可怕的事情，为什么有死亡的存在呢。

我对此也没有答案。或者说“知道答案”的人反而十分危险。如果说为什么的话，这是在强迫他人。人类这种生物就是喜欢寻找答案。犹太教有句话说“小孩子有着所有问题的答案”。胎儿本知道所有东西，在诞生的时候天使过来了，让他忘记了所有的事。所以他会花费一生的时光去回想在腹中时曾拥有过的答案。“所有的胎儿拥有所有的知识”这个传说我非常喜欢。

——死的时候也许也找不到答案呢。

我觉得也许会更靠近答案，但是无法找到答案。

克里斯蒂安・波尔坦斯基　摄影=稻叶真

艺术之美在于其不正确性

——您经常强调独属某个场所的记忆。这次开幕的“Lifetime”展与“Animitas Ⅱ”展在准备时有什么注意点吗？

这次的展览和2016年于东京都庭园美术馆举办的展览稍有不同。庭园美术馆是一个有历史的场所，但是这次的展览都是在白色空间内。尤其在国立新美术馆，我看了建筑后，想要创造一个通道，然后就有了“有开始也有结束——通过通道”的灵感。

比如说在意大利和西班牙的教堂里，门敞开着，进入后就能看到神父，还有教堂独有的味道、声音和装饰画。我并不信教，所以对教堂的仪式也不了解。但是，却能感受到“这是一个思考的地方”这点。所以，进入教堂后坐10分钟，开始思考我们是什么、为什么身处这里。然后，出门后便回到自己的生活中去。

这样的场所是很有意义的。我觉得现在美术馆可以被当作新的教堂。教堂是思考的场所，美术馆也有相似的作用。现在的有权势的人并不兴建教堂，而是建造美术馆。这样的场所对社会来说是必不可少的，是探索自己的内心，从精神的源头汲取营养的必要场所。

——东京路易威登艺术空间在空间设计上有步移景异的特征。

的确是这样，刚开始打算建造一个观看影像的箱型空间，后来我放弃了这个方案。希望画廊外的东京都市风景也被纳入展览之中。这样就能让大都会和自然之间产生对话。对我来说，周围环境也很重要。

东京路易威登艺术空间现场，《Animitas（死去的母亲们）》（2017）　Courtesy of the Fondation Louis Vuitton　Photo by Jérémie Souteyrat　© Adagp, Paris 2019

——您希望日本人能对该展览会产生怎样的共鸣呢？
我经常旅行，也在不同的国家举办展览。每个地方的人们都透过自己文化的滤镜，用不同的方法去欣赏我的作品。然后最后都接受了我的作品，理解了应该理解的含义。让我感动的地方就是：即便对方是来自另一个文化的人也可以与作品交流。

就像杜尚说的那样，每个人都借着自己的经历使得作品得以完成。比如我们去电影院的时候，即便观看的是同一场电影，也会产生不同的看法。面对同一部电影，每个人也有自己的解读方法。

——“每个人都借着自己的经历使得作品得以完成”这句话也适用于其他艺术家的作品吗？如果观赏者得出的结论与（艺术家）最初的想法完全不同的话，也没有关系吗？

我觉得这句话对所有作品都适用。每个人都接收到他应该接收的东西。然后我所抛出的问题也和会下一个问题相连。

艺术的美妙之处就在于其不正确性。艺术只要给一些刺激，观赏者就会在这刺激之上加上必要的东西，再重新建构这件作品。艺术并不会变得更先进。当前的艺术并不比300年前的艺术更优秀，只是使用的语言不同而已。但仍然在抛出同样的问题。在这个层面上，我也算不上当代艺术家。

Animitas（智利）　2014　full HD影像、彩色、声音　13小时6秒　Courtesy Marian Goodman Gallery and Fondation Louis Vuitton

好的艺术家在探索中生存

——您在过去说过“艺术家不应当是专业的”，这句话能详细说一说吗？

最近的年轻艺术家为了获得世俗的成功，有以成为专业的艺术家为目标的倾向，我对此感到很有危机感。因为艺术是对内心的探索——能成功固然很好——成功绝不是关键。我只是恰巧赚了很多钱，虽然很开心，但是赚钱本身比成为好的艺术家要简单很多。

我执教20多年，但是真正意义上的艺术家只遇到过5人左右。艺术对他们来说就是命运一样。成为好的艺术家的必须项不是勤奋。在艺术学校学习也不一定有用。对于艺术家来说，重要的是等待。对内的思考是必要的。

与我年轻的时候比，艺术界和金钱的关系发生了变化，联系更加紧密了。波西米亚式的世界远去了，艺术家和其他的职业没有什么不同。我很喜欢贾科梅蒂，他总是呆在蒙帕纳斯，很少离开自己的画室。晚上制作雕塑，白天和妓女一起疯狂喝酒，然后到夜里为追求更好的作品而继续雕刻。画室之外的生活就如乞丐一样。

——对于你来说，好的艺术家是怎样的艺术家呢？

痴迷于探索的人。学习与工作对他来说没有意义。每天在探索中活着。我对学生说“如果最新的作品被夸奖了，请先给那个人一个吻”。只有这件事是重要的。再强调一遍，对艺术家来说只有作品是重要的，这之外的东西都没有意义。

艺术家自身也会成为自己的一件作品。艺术家的梦就是和自己的作品越来越像。弗朗西斯·培根自身成为培根的作品，贾科梅蒂自身成为贾科梅蒂的作品。然后像我的话，就会和饼干盒很像，因为我在作品中使用了很多的饼干盒（笑）。

克里斯蒂安・波尔坦斯基　摄影=稻叶真

翻译=娄依伦

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克里斯蒂安・波尔坦斯基

1944年出生于巴黎，现居住在马拉科夫。1967年以来，以写作、电影、雕刻和摄影为表现手法追求艺术。1972年参加文献展（德国・卡塞尔）后，在世界各地举办展览。2011年作为法国馆的代表艺术家参加了威尼斯双年展。在日本的主要展览有：“克里斯蒂安・波尔坦斯基展”（ICA名古屋、水户艺术馆，1990-1991）、“克里斯蒂安・波尔坦斯基 Animitas – 呢喃的灵魂“（东京都庭园美术馆，2016）等。也参加了第一届大地艺术节・越后妻有艺术三年展。2010年的濑户内国际艺术节时在丰岛设置了《心脏档案室》。主要获奖有凯撒林奖(2001)、高松宫殿下纪念世界文化奖（2006）等。

Business & art于2019年4月16日发布于

The Development of Japanese Museums and Art Galleries

Japanese architect Arata Isozaki has generated a theory to analyse the evolution of the interior design of museums and art galleries. According to his theory, museums and art galleries over the past several centuries have diverged into three categories.

The first category refers to museums established by the 18th century. This type of museum’s primary purpose is to show the art collections from noble people, for instance, Louvre Museum. The features of such a museum are old-fashion coloured walls and heavy frames with elaborate decoration. The permanent collection constitutes mostly of art pieces from old masters.

Louvre Museum

National Museum of Tokyo

The second category includes museums and art galleries that exhibit modern and contemporary artwork. In these, the interior design is simple and modern. These spaces are categorized by white walls, which is why they are also called “white cubes“.

Tokyo Metropolitan Art Museum

The third category is artist-centered and pays more attention to the architectural design. It is marked by two distinguishing features. The first is collaboration among artists and architects; architects generate the museum concept and design based on the artist’s style and work. This kind of exhibition space is characterised by a strong visual impact from the outside, as well as perfect harmony between the art collections and the buildings they are housed in. The second feature is founded on the concept of renovating abandoned historical buildings, including factories and train stations. These buildings have high ceilings and enormous spaces, therefore meeting the common exhibition space needs. Transforming the abandoned buildings into cultural institutions gives them new life, therefore promoting the concept of recycling and encouraging innovative ideas.

Hamburger Bahnhof

The fourth and the last category adds a new element to the museums and galleries: the “human” one. This characteristic (that isn’t part of Arata Isozaki’s theory) made its first appearance on the International Art Festival of Japan. For example, the Echigo-Tsumari Art Triennale that’s located in a rural village in Nigada province of Japan. The artwork exhibited in this festival is mostly site-specific and located in the outdoor environment. Moreover, the festival is keener on the process of making artwork, compared to the final result. It is a collaborative process in which local people living nearby participate and join the artist in bringing a vision to life, other ordinary people then come and visit the art. Thus, in this instance, art superseeds its original boundaries and influences a society as a whole.

Professor Kurakuma Sumiko from Tokyo Art University called this emerging art scene “collaborative art activity” and summarised its main features: 
1.    It is focused on the process and is actively present.
2.    It considers the surrounding environment and reacts to the social situation.
3.    It is open to feedbacks and influence.
4.    It attracts diverse people.
5.    It plays the role of a social activist.

• 

• 

Echigo-Tsumari Art Triennial

After doing research about the development of Japanese museums and art galleries, I feel the enormous public need for art. This has led to the speedy, development of museums and art galleries in recent years. Art, as a tool of expression, is no longer only mastered by artists like painters and sculptors; ordinary people are getting the opportunity and confidence to express themselves with the help of art professionals. 
At the same time, I have to admit that the impact of collaborative art activity is still small. White cubes and old-fashioned museums and art galleries enjoy the dominate legitimising status. People are used to be appreciators and outsiders, rather than participators.

WORDS BY LOU YILUN

Business & art 于2019年2月6日发布于

Observing China through a western lens

On July 16, 2018, the president of La Biennale di Venezia, Paolo Baratta and the curator of the 58th international Art Exhibition, Ralph Rugoff, met the press at Ca’Giustinian to launch the Biennale Arte 2019, which will take place from May 11th to November 24th 2019 at the Giardini and the Arsenale, as well as around other venues in Venice. The 58th International Art Exhibition is titled May You Live in Interesting Times. 

When La Biennale di Venezia first announced this title on July 16, 2018, it became a controversial topic right away. In the official La Biennale di Venezia press description, they wrote: “The 58th International Art Exhibition is titled May You Live in Interesting Times, after an ancient Chinese curse referring to periods of uncertainty, crisis and turmoil; interesting time, as exactly the ones we live in today”. Those sentences sound beautiful and elegant. Unfortunately, there is no such Chinese curse. To be more precise, May You Live in Interesting Times is not a Chinese saying or Chinese slang. Actually, it has nothing to do with China. 

Right after the La Biennale di Venezia announced its title, the Hong Kong press South China Morning Post quickly published an article against La Biennale di Venezia. The article is named La Biennale di Venezia deliberately used a fake Chinese curse, and this behavior set off the Art director of Hong Kong Art Center. 

The vice curator of Chinese art of the Robert H. N. Ho Family Foundation at New Guggenheim Museum Wen Xiaoyu summarized this kind of title as a “curatorial fortune cookie”. A fortune cookie is a small dessert offered in Chinese restaurants around North America and Europe. If you break the cookie, it contains short sentences of (supposedly) wisdom. Ironically, the fortune cookie was entirely created in the West. You can’t find fortune cookies in local restaurants in China. Even in the supermarket, you can’t find any kind of cookie with a small paper inside of it.

Fortune cookies are a perfect metaphor for the following situation. Some western art curators want to show that they’re erudite or want to add a bit of mystery into their exhibition. To do that, they will use some words or stories which seem to be originated from the east. However, they do not even check their validity. 

Felix Gonzalez-Torres Untitled (Fortune Cookie Corner) 1990

On July 18th, 2018, La Biennale di Venezia’s official site changed its theme description. They wrote: ”The 58th International Art Exhibition will be titled May You Live in Interesting Times, after an alleged ancient Chinese curse, a false belief that British MP Sir Austen Chamberlain had learned of from a British diplomat, and which refers to periods of uncertainty, crisis and turmoil; interesting time, is exactly the ones we live today.” 

Then, on July 20th, 2018, La Biennale di Venezia’s official site changed the description again. They wrote: “The 58th International Art Exhibition, titled May You Live in Interesting Times, will take place from 11 May to 24 November 2019 (Pre-opening on 8, 9, 10 May). The title is a phrase of English invention that has long been mistakenly cited as an ancient Chinese curse that invokes periods of uncertainty, crisis and turmoil; interesting times, exactly as the ones we live in today.”

Yet, the above example is not the only case that shows misunderstanding and stereotypes which western people hold towards China. Similar circumstances not only happen in the art world, but also in the fashion world. 

The Chinese Spring Festival, which is often held in February, is the most important festival for China, just like Christmas in Europe. Well-known luxury brands always aim at promoting themselves during this important period. They will shoot special posters and introduce a limited version of clothing and bags. But the outcome is not always satisfactory. 

Luxury brand Burberry published its new year advertisement at the beginning of this year. In the poster, Burberry aimed at presenting a sense of family. Yet, because the facial expression in this ad is cool and poker face, the Chinese audience could not understand the initial purpose of this advertisement. On social media, people are still teasing this ad as a screenshot of a horror movie. 

Burberry

Of course, it is never easy to understand a foreign culture, particularly between West and East, since these two culture systems are not similar at all, from their philosophy to social norms. Even the understanding within Asian countries is hard to achieve. Take Japan for example. In Japanese animation and TV drama, if there is a Chinese woman character, she must wear a red cheongsam and a two-bun hairstyle. In today’s China, no one dresses like this.

WORDS BY LOU YILUN

Business & art 于2019年3月13日发布于

So is Contemporary Art actually that confusing?

“I don’t like contemporary art, because I can’t understand it. What does the artist really want to express?” People often complain about contemporary art and its difficulty to be understood.

The truth is, the turning point of contemporary art history is undoubtedly the famous Duchamp fountain. He brought a readymade product from the male toilet to the exhibition space. Since then, the fine line between art and daily life was blurred.

For instance, the female Chinese artist and engineer Liu Xin’s chose bread as her art medium. She follows the shape of Cuba’s national round daily bun to make her artwork Bread Havana. Like Cuba’s daily subsidized national bun, this artwork’s raw materials are imported flour, sugar, dry yeast, and water. The unique part of the Bread Havana is its flavor. In order to complete this artwork, Dana Gasiorowski from IFF (International Flavor and Fragrance) designs an essence flavor that balances the nuances of gasoline, sweat and white ginger flower (the national flower of Cuba).

The artwork is appreciated through a dining experience. Liu Xin will serve the audience with freshly baked bread. When the audience breaks the bread, bites, chews and swallows, it will notice the difference between Bread Havana and bread sold in regular stores. Bread Havana tastes like nothing but pale flour. This dull taste won’t shock the audience but drives people to think of the living conditions in Cuba.

State-owned bakery in Havana, Cuba

Artist Liu Xin got her inspiration by visiting Cuba, where tourism is the third largest source of foreign currency, behind the two dominant industries of sugar and tobacco. Cuba doesn’t conceal and hide its poverty and struggles. The lack of regulation on sex work, ungovernable black markets and creaky infrastructure make of poverty and development a reason for visitors to travel.

Liu Xin is not the only artist who picks daily food as a medium of expression. A couple from Los Angeles, Mitra Saboury and Derek Paul Boyleshan put toast on a staircase, then stepped on it to leave footprints. They call the footprints the trace of life.

Although artists and professionals working in the art industry may discover the artistic meaning behind those daily commodities made artworks, ordinary people tend to showcase confused faces towards them. There are two extreme cases to vividly present the confusion which the average audience experiences.

Dove andiamo a ballare questa sera? (where are we going dancing tonight?) is an art installation by Sara Goldschmied and Eleonora Chiari, a Milan-based art duo. This artwork was once exhibited in 2015 at the Museion in Bozen-Bolzano, in the South Tirol region of Italy. Through this piece of art, the artists wanted to represent the golden time of the Italian economy in the 1980s. This installation, demonstrating the mess after a party, including empty beer bottles, scattered colorful decoration papers and other trash was ironically so realistic that the museum cleaner swept it off.

On the other hand, people often mistake some irrelevant elements or people as art pieces. In 2016, two California teenagers visited the San Francisco Museum of Modern art. They decided to play a small game to test the audience’s reaction. They placed a pair of glasses on the floor and stepped back to see how the audience would perceive them. After a while, people gathered around the eyeglasses: some people pondered over it and tried to understand it while some people kneeled down and took photos of it.

So why is contemporary art that confusing? From my perspective, one of the biggest reasons is that compared to classical art and the old masters, contemporary art is a more diversified medium of expression. As the audience is more used to a traditional way of appreciating art, in their mind, art should be a painting or a sculpture. Therefore, when the contemporary artist puts a readymade product in the exhibition space and calls it an art piece, the audience can’t fit this type of art into their pre-existing categories of what art is. In addition, contemporary art reflects the world we are living in now. In other words, contemporary artists are writing art history with their artworks. Some of them may have a long-term impact, and some of them may disappear and diminish. Therefore, it is now still too early to determine whether works can be viewed as art or not.

WORDS BY LOU YILUN

business & art 于 2018年11月7号发布于

You may visit a fake exhibition

The art exhibition“Yayoi Kusama and Takashi Murakami joint Art Collection” was presented on September 22^nd in a shopping mall located in Shanghai’s central area. Visitors can experience several rooms with bright backgrounds decorated with an intensive spotted pattern, a classical feature of Yayoi Kusama’s artworks. Moreover, the exhibition also presented artists’signed artworks. However, Yayoi Kusama and Takashi Murakami claimed that they never joined this exhibition and created those artworks.

Nihon keizai shinbun（Japan Economic News）and several other Japanese well-known media reported that: “since this year’s April, this kind of fake exhibition already appeared in four Chinese cities, including Shenzhen, Guangzhou, Wuhan and Shanghai.” As the investigation went further, the similar exhibitions were also found in other Chinese cities, for instance, Tianjin, Qingdao, Changsha, Xinjiang, Zibo, Chongqing and Suzhou. Some were the Yayoi Kusama’s solo exhibitions, while some are joint exhibitions of Yayoi Kusama and Takashi Murakami.

When the news came out, both the Japanese artists and Chinese audience were angry and disappointed towards the exhibition organizers. Regarding this news, Yayoi Kusama said: “when I heard that some fake artworks were exhibited in Chinese several places and lots of people believed it and went to see those exhibitions, I was totally shocked. I have contributed all my life to the art creation, but my work was presented to the public in a wrong way. It is an extremely frustrating thing. To Chinese audience and also to the world, please stop this kind of fake art exhibitions, and please appreciate my real work by your eyes. I am sincerely hoping that we can overcome this kind of difficulties and create a better world.”

On the other side, this news was widely spread in Chinese social media and people were discussing about it. The most popular comment regarding this news is: 我可能看了个假展（I may visit a fake exhibition）. This sentence was originated from some similar Internet popular phrases. Chinese people were used this expression to show the mixed emotion of irony and resigned. Visitors were angry for this deliberate deception behaviors. Some of the exhibitions were free entry, while others needed admission tickets, which were sold on two biggest ticket selling websites. Moreover, the exhibition organizer even promoted the exhibition in the underground stations. Lots of people were totally deceived until saw the news.

Currently, Yayoi Kusama and Takashi Murakami have urged the exhibitions to stop and plan to sue the organizers for violating their rights. The reason why these fake exhibitions were firstly organized is that the reputation of these two artists would have attracted people and the shopping mall, along with the exhibition organizers,  would have benefitted from this improved turnout. Kusama’s and Murakami’s artworks are colorful and easy to understand, making them perfect for visitors who want to take photos and share them on social media.  As a consequence, the shopping mall has extra customers and can link its brand to the art world, while the exhibition organizers earn money from the admission fees and from the shopping malls hosting the show.

The past 30 years were golden years for the Chinese economy. The average growth rate for China was around 9.6%, while for the ideal growth rate for a country’s GDP growth is 2-3% from the international standard. In other words, the growth of Chinese economy was much faster than average. On average, every Chinese’s income will double every 7-8 years. Moreover, in the past 30 years, a Chinese family’s income more than tripled. Along with the fast income growth, Chinese also are receiving tons of information from other countries. The number of Chinese students choosing to go aboard is breaking the record every year. For example, in the UK (one of the popular aboard study destinations for Chinese students) almost one-third of non-EU students are Chinese. I believe that China knows more about the world than the world knows about China. Chinese people are actively committed to visit and know about foreign countries, especially developed countries like US, UK, Japan, Korean and European countries. China, having experienced an economic boom later with respect to other countries, is driven by the former sense of crisis to know and understand the rules of the game. At the same time, the world is shifting from the Second Industrial Revolution to the information revolution due to the fast growth of technology occurred in the past years.

To conclude, Chinese people are experiencing remarkable changes in social and economic aspects of their lives. Everything is speeding up, opportunities are everywhere, and at the same time the environment is less-regulated. The result is an uncertain social environment, where choosing to be the first-mover is a wise thing to do. Being the first-mover allows to set the rules for these new and improved markets. Therefore, even if one made a mistake (e.g. organizing a fake exhibition), revenues were still earned. Furthermore, it is unlikely to face harsh consequences because market is less-regulated and having no case law to rely on slows down possible lawsuits. After analyzing the Yayoi Kusama and Takashi Muramaki case along with the assessment on the overall situation, most people might choose to take the risk, as the revenues seem to be certain while facing consequences is just a remote possibility.

Lou Yilun

BocconiUniversity微信公众号于2019年6月21日发布于

https://mp.weixin.qq.com/s/nLpUgSEh2s_ErFa1Hsmn0w

“The Art is a white shell in a water basin” – Alberto Giacometti

意大利威尼斯双年展(La Biennale di Venezia)、德国卡赛尔文献展(Kassel Documenta)与巴西圣保罗双年展(The Bienal Internacional de Sao Paulo)被并称为世界三大艺术展，其中威尼斯双年展又是最负盛名的执牛耳者。2019年恰逢两年一度的威尼斯艺术展开展，自然是要去凑凑热闹的。今年的威尼斯双年展的主题为“May You Live in Interesting Times(愿你活在有趣的时代)”，从5月11日持续到11月24日，长达六个月的展期。关于这个主题还有一段和中国有关的乌龙，据策展人介绍他是从在西方广泛传播的一句中国俗语中获取的灵感，然而实际上中国根本没有这句俗语。策展人所借鉴的那句中国俗语其实是英国人Austen Chamberlain从一本英语文献中知晓并开始使用，之后便以讹传讹地传播开来。这不过是西方视角对一知半解的东方文化的神秘化与自我高潮的又一表现而已，作为双年展的注脚倒是另有一丝荒诞感。

整个双年展可以被分为三个区：绿城花园区（Giardini）, 军械库区（Arsenale）与散落在威尼斯的其他场馆。主展区绿城花园和军械库相隔10多分钟的步行，还是非常方便的。我大概花了两天，中速看完了这两个主展区，绿城花园区非常对我的胃口。接下来我会介绍一下让我印象深刻的几个展馆。（特别说明：接下来的解读将非常个人，不学术，也没有对照查看艺术家、策展人的真实创作意图）

立陶宛展馆：Sun et Sea(Marina)

本届的金狮奖花落立陶宛馆，所以即使没有位于两大主场馆的它也人气爆棚，我足足在外面等了近俩小时才得以一窥究竟。

艺术家在馆内再造了一个海滩，温度、光照、环境和人物都被严格再现。访客站在二楼，以上帝视角俯视底楼的沙滩：黄澄澄的沙子、东倒西歪躺着的人们、奔跑呼叫的孩子、洒落的沙滩用具。。。。。。反正看着那个趴着玩手机入迷的少女，我觉得大概在上帝的眼中，之前去沙滩玩的我也是那个样子吧：身在沙滩，意识却在虚拟世界冲浪。演员很松弛与入戏，他们时而独唱关于自己的故事、想法，时而合唱。我暗暗地想：躺平还能中气十足地飙高音，真是厉害了。没准会破音？不过破音了，大家也认为是艺术设计吧。这就是艺术的好处，管你玩砸了，还是按剧本走，你都非、常、艺、术。

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英国馆：Cathy Wikes 个展

每个国家馆的策展人都会带着那个国家策展的习惯和气息，比如英国馆的打光和大英博物馆一模一样，踩着的地板材质色泽也很像：无论在哪里，我们英国人都要端着，将讲究进行到底。在进入个展的一瞬间，我觉得自己进入了一个温暖的幼儿保温间，谦和的黄色、柔软的面料、随意摆放的玩具，空气中似乎飘着一股奶味一样。

法国馆：Deep See Blue Surrounding You

法国馆剑走偏锋地将入口设在了后门，所以我得沿着杂草丛生的小径绕到后面的，然后在门口工作人员会派发纸质面具（背面印着展览介绍）。首先映入眼帘的是用蓝色的凝胶覆盖住的地面，鸡蛋壳、鸟的模型、碎纸屑、易拉罐子。打开层层纱帘，便进入了观影厅，奇形怪状的羊毡材料制成的椅子，像踩在章鱼肚子上一样的地毯。在意识流的荧屏两侧各有一个房间，忽亮忽暗的灯光、超现实的摆设、五彩斑斓的挂毯。。。。。推开门走出场馆的时候，你会被一大片水雾遮盖视野，湿漉而冰凉的小水滴落在你的肌肤表面。一言以蔽之，整个观展体验就想做了一个超现实的蓝色基调的梦，潜意识逐渐下沉——光怪陆离的场景——水雾散开——欢迎回到现实世界。

别看了，没图，场馆太暗，我手太残👆

以色利馆：Field Hospital

非常酷！非常酷！非常酷！重要的话要说三遍。以色列馆直接被改造成了一家医院，致力于服务那些沉默的呐喊和处于不公正状态的人们，为它们带去慰藉。首先，你需要使用门口的机器取号，然后在整齐划一的蓝色等待区观看视频，直到你被叫号。随后，你前往医院前台，护士会问你：你想要哪一种治疗方案？随后我就不剧透啦。有机会的话，请务必体验一下。It’s ok to be weak and our hospital are there for you.

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以上就是来自前方随意的威尼斯双年展观展体验，可以的话请避免在盛夏季节去哟，除非你热爱地中海直射的阳光，或者你很想试一试刚买的防晒霜。

Profile

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娄依伦

MSc ACME

Art Market, Museum and Heritage track

关于 Business&Arts

Business＆Arts成立于2016年，是Bocconi第一个汇集了对艺术行业运作感兴趣的国际学生的学生协会。 B＆A旨在成为支持博科尼大学创意领域以及培养审美欣赏，探索和文化参与生活方式的中心组织。

我们致力于将最好的艺术，风格，生活方式和旅行融为一体，为我们的会员和整个博科尼校区和社群提供行业思考和深入洞见。这个通常被视为“休闲”的领域，对于像意大利这样文化艺术传统悠久而发达的国家来说，更是一种不容小觑的软实力和巨大的有益资产。

https://businessnarts.com

https://www.instagram.com/businessandarts/

https://www.facebook.com/bocconibusinessandarts/

美术手帖于2019年6月21日发布于

https://mp.weixin.qq.com/s/73ltgqepwhNufD171kbvEw

既是世界文化遗产，也是日本国宝的姬路城的东侧坐落着姬路市立美术馆。该美术馆于1983年正式开放。这座极具特征的红砖建筑物，曾经是姬路陆军兵器分库的西仓库。在二战结束日因空袭而变成一片废墟的市区，该仓库奇迹般地被保存下来。在战后，还作为市政厅成为了复兴工作的重点地点。这一座极具历史意义的建筑物于2003年被选入日本物质文化财产名录。

姬路市立美术馆外观

这座美术馆在2017年开始接到日本文化厅的指示，以建立“对人对物皆施以关怀的美术馆“为目标，认真推进改造工作。经过半年以上的改造工程，终于于今年4月再开馆。在开馆后推出的第一个纪念性特展为“teamLab 世界从黑暗里诞生，仍然如此可爱而又美丽”。

该展展出了三件大型数字装置作品：《世界从黑暗里诞生，仍然如此可爱而又美丽》（2018）、《Black Waves：迷失、沉浸与重生》（2019）和《生死无止尽、不为所控却能共生》（2019），以及以伊藤若冲马赛克式笔触的代表作《鸟兽花木图屏风》与《树花鸟兽图屏风》为原型创作的、高桥收藏系列中的影像作品《联合、分裂、重复和无常的世界》（2013），共计四件作品。除了teamLab的粉丝，平常没有访问美术馆习惯的人们也前来看展，共有突破记录的10万人以上的来访。

展览现场，《生死无止尽，不为所控却能共生》（2019）　© teamLab

　　提到teamLab的话，自然是绕不开在东京台场举办的“teamLab 无边界（Borderless）”和在丰洲举办的“teamLab 行星(Planets)”等人气展览。不但在日本，世界各地也有进行展出。姬路市立美术馆为何选择了teamLab作为再开馆的首个展览呢？该馆副馆长兼展览部部长不动美里围绕着teamLab作品所拥有的崭新性与包容力做出了解释：

“本次展览象征着美术馆的重新启程。到目前为止，本馆作为现当代美术馆在展览上有很多的积淀，但是同时代的当代艺术、影像装置方向却是空白。美术馆自创立35年以来，收藏方向一直是现当代艺术，而同期的国内其他公立美术馆并没有和本美术馆匹敌的、积极针对当代艺术的方针。将质疑常识、不断更新世界观的当代艺术作为切入口，将历史上已经被评价的作品价值和固定观念、不断地以当前的视角再次审视。这种批判性的精神将为馆内外带来新的价值。我们以再开馆为开端，怀着“与现在正生活着的人讨论现在”的初衷，对当代艺术继续展开讨论。teamLab是一个已被很多人所接受，未来会被更多人接受的体现包容性的艺术团体。把同时代中最为先锋的他们所构想的崭新世界观带入本馆，将没有人见过的风景在这个场所中创造出来，能开拓出无限的可能。”

展览现场，《世界从黑暗里诞生，仍然如此可爱而又美丽》（2018）　© teamLab

从“被很多人所接受，未来会被更多人接受”的表述中，我们可以一窥日本地方美术馆所怀抱着的危机意识。在人口减少、基础设施老化、对艺术的兴趣低落、年轻一代远离美术馆等一系列事关美术馆存亡的问题上，姬路市立美术馆也难逃考验。

 “正是现在我们要将艺术所蕴含的普世性的力量以更好的方式展示出来。通过艺术的语言，让‘活着真是太好了，来美术馆真是太好了’这种想法被更多人所体验到。这是只有展览才能做到的事情，也是美术馆的使命。teamLab的表现方式具有压倒性的包容力，无论是谁都能够接受，所以才得到了许多人的喜爱。换句话说，这次的展览创造了一个奇迹般的双向而深层次的交融的时空，体现了‘艺术是人类生命的精神食梁’这一名言的涵义。我们也深深相信创造这种创意性现场的意义。”

展览现场，《Black Waves：迷失、沉浸与重生》（2019）　© teamLab

当初曾讨论过展示以小孩子为目标对象作品的可能性，但是在讨论美术馆中的teamLab展应该展示些什么后，我们选择了目前正在展出的这些作品。

作为现代社会构建基础的西方现代主义，以文艺复兴时期的透视画法中的远近法为象征，将主体与客体区分开来，以人类为中心看待这个世界。但teamLab的作品却模糊了作为人的边界，让人类与世界万物相互交流。这是对日本自古以来的时间与空间的概念的再发现以及独立地分析后诞生的表现方法。teamLab所描绘出的所谓的“超主观空间”是将假想的三维空间中诞生的东西通过二维世界的变幻所描绘出来的影像世界，是重塑人类视觉体验和世界观的变革的大尺幅艺术项目。能够将该概念纯粹地体现出来的作品，无疑是描绘了水分子运动所产生的波浪的作品《Black Waves：迷失、沉浸与重生》（2019）。将teamLab这种造型思考方式的源头，也是对近代以前日本绘画的独立阐述表现得淋漓尽致的作品则是从高桥收藏系列中出借的《生死无止尽，不为所控却能共生》（2019）。这件作品是基于本次展览顾问南条史生与本馆员工带着该件作品是“不可或缺”的强烈意念而出借成功，并被摆放在会场的最开始之处。

展览现场，《联合、分裂、重复和无常的世界》（2013，局部）　© teamLab

作为若冲作品的再解释而创作的《联合、分裂、重复和无常的世界》（2013），起着将teamLab每一瞬间都在不断变化的数字装置和其中美术史的底蕴在观众的意识中相连接的作用。

从2004年开始就一直在关注猪子寿之所领导的teamLab的实践理念的不动美里认为，为了美术馆teamLab个展完美呈现，并不被其吸引访客的能力和话题性所影响，美术馆与创作者之间的互相挑战是不可或缺的。

展览现场，《Black Waves：迷失、沉浸与重生》（2019）和《生死无止尽，不为所控却能共生》（2019）　© teamLab

　　“这次展览也是一次我们自身再次反问在美术馆举办展览的意义问题的机会。美术馆的作用正是帮助teamLab呈现其作品艺术性。这背后所蕴含的坚韧的批评精神，以及将激进主义的呈现形式用语言进行解释就是策展人的工作。”

本次展览还首次邀请了艺术评论家辻惟雄和建畠晢等来自不同领域的评论家为teamLab展的官方图录《teamLab 在永远的当下》撰写评论。迎来新的开始的姬路市立美术馆将朝着新的目标继续前进，本次展览之后的活动也将持续影响美术馆的未来。

翻译=娄依伦

teamLab 世界从黑暗里诞生，仍然如此可爱而又美丽

展期：2019年4月20日～6月16日（已结束）

会场：姬路市立美术馆

地址：兵库县姬路市本町68-25

电话：079-222-2288