【译】荷兰凡 阿贝美术馆(Van Abbemuseum)展出部分馆藏重要作品,邀请参观者角色扮演

 

苏拉西•库索旺, Surasi Kusolwong, Emotional Machine (VW), 2000-2004. Installation at Palais de Tokyo, Paris.

Surasi Kusolwong, Emotional Machine (VW), 2000-2004

Georg Baselitz, Kriechender Weiblicher Akt-Nr.2, 1977

 

埃因霍温报道-凡 阿贝之四:朝圣者,游客,流浪者与工人(Van Abbe Part 4: The Pilgrim, the Tourist, the Flaneur (and the Worker) )于2月26日在凡 阿贝美术馆拉开帷幕。此次展览展示了众多精选的美术馆馆藏重要艺术创作,诸多特邀艺术家嘉宾亦参与了此次的展览项目;同时这也是凡 阿贝角色扮演(Play Van Abbe)系列的最后一季。参观者被邀请在参观美术馆时扮演一个角色,可供选择的四个角色分别是朝圣者、游客、流浪者与工人:朝圣者关注艺术对象,游客关注故事,流浪者关注时间以及整体的美术馆体验,而工人则是寻找一种与艺术的活跃交锋及不断对他们自身与他人有着创意想法的角色。参观者被邀请在其参观过程中随机改变这些角色,同时体会随着对艺术品评断与观察的角度变化、对这些艺术创作的表现也会随之不同。通过提供这些经典角色的扮演机会,美术馆将观察焦点直接落在了参观者身上,及他们体会艺术的不同方式,而非作为艺术专业从业人士本身的学术角度出发检视这些艺术创作。

 

凡 阿贝角色扮演之四(Play Van Abbe Part 4)项目将持续至2011年8月,并同期举办一系列相关项目,包括现场表演、影像影视等等。

 

角色

在凡 阿贝角色扮演之四中, 美术馆将目光投向了关于参观者判断艺术习惯采用的一些规律;尤其是在近些年,这些规律很难把握、错综复杂、不可预测,然而可以肯定的一点是,观众对艺术的判断已远不再局限于传统的审美标准与对真理的单一追求。此次项目标题中的四个角色描述了美术馆参观者在其欣赏一件艺术创作时可能扮演的角色,每个角色都从截然不同的方向与方式来经历参观美术馆的经验,每个角色也都有其独一无二的“能力”来探索美术馆。然而这些角色并非是规则固定的,每个参观者都可在他们的参观过程中改变这些角色,或在重游某个画室时扮演另一个新角色。这个项目并非试图代表某个艺术体验的等级体系,事实上,观众互相可以取长补短。

 

项目本身就像是一次精神旅行,朝圣者从敛心默祷的的冥想中寻求启示;反之,游客从每日的忙碌行程中抽出身来,寻求身临其境与原初真实;恍惚徘徊、漫无方向的流浪者拥抱一切却一无所有;工人的角色可以从其他任意角色演化而出,他是新故事与意义的制造者,扮演这一角色的参观者可以忽略后来者对其表演版本的反馈与评说。

 

这些角色并非是给一个让大家单纯评说艺术好坏的机会,而是为参观者开创了一个新的视角来看待艺术创作,美术馆与展览作为公共空间恰是为体验与交流而设。

 

为了协助参观者, 美术馆准备了四位高手玩家,他们将作为相应角色的导演帮助观众汇聚精神并即时给予反馈。

 

参展艺术创作

美术馆旧楼(Oudbouw)的对称结构被充分利用来构建一个三维曼荼罗(Mandala,东方宗教的一种代表宇宙的圆形图形),参观者由此得以在此桃源仙境中开始个人与集体社会经验的体验之旅。参展的馆藏精选之作包括来自Ulay / Abramović, Georg Baselitz, Joseph Beuys(乔瑟夫·博伊斯), James Lee Byars, Hamish Fulton, Douglas Gordon, Jenny Holzer, Anselm Kiefer, Richard Long, Oliver Ressler等众多艺术名家的创作。

 

展览在美术馆新楼(Nieuwbouw)的底楼延续,循着预设的路线图仿若在未知之城漫步;扮演不同角色的参观者可以停留在街道上,或可揭开门帘探索更隐秘的艺术创作:Sarah Charlesworth, Robert Delauney, Erwin van Doorn & Inge Nabuurs, Barry Flanagan, Surasi Kusolwong, Katharina Sieverding, Andy Warhol和杨振中等等。在新楼两层展出的“时间机器——重新载入”(Time Machines – Reloaded)也是凡 阿贝角色扮演之四的组成部分。同之前的第三季一样,第四季也请到了一些嘉宾策展人与艺术家共同参与;而在四月份,影像艺术家Marko Peljhan的一件神秘要作也会现身该展。

 

A Selection of Important Works from the Van Abbemuseum Invite Visitors to Play Roles

 

Surasi Kusolwong, Emotional Machine (VW), 2000-2004. Installation at Palais de Tokyo, Paris. Courtesy: the artist & Palais de Tokyo. Photo: Daniel Moulinet.

EINDHOVEN.- On Saturday 26th February, Play Van Abbe Part 4: The Pilgrim, the Tourist, the Flaneur (and the Worker) opened in the Van Abbemuseum. The exhibition presents a selection of important works from the museum’s collection together with several special guest artists. In this last part of Play Van Abbe, visitors are invited to play a role whilst visiting the museum; the roles are the pilgrim, the tourist, the flaneur and the worker. The pilgrim is focused on the object of art; the tourist on stories; the flaneur on time and the overall museum experience. Finally, the workers are the roles that seek an active confrontation with art and produces new ideas for themselves and others. Visitors are invited to change roles during their visit and experience how artworks appear different according to the way how they are judged. By offering these classical roles, the museum seeks to focus directly on the visitors themselves and the way they experience art, rather than to thematise the artworks themselves.

 

Play Van Abbe Part 4 runs until August 2011 and hosts a varied programme of performances, films and other events.

 

The roles

In the fourth part of Play Van Abbe, the museum focuses on the criteria that visitors often use to make judgements about art. These criteria have become more complex and uncertain over the last years and are certainly no longer limited to the old measures of beauty and truth. The title of the exhibition describes possible roles that a museum visitor can play when looking at an artwork or exhibition. Each of these roles experiences the museum in a different way and each have their own ‘tools’ to explore the museum. Roles are never fixed and visitors can change them during their visit, or revisit rooms in a new character. Neither do they represent a hierarchy of experience and, in fact, each might be said to fill in the lack in the others.

 

On a spiritual journey, the pilgrim seeks revelation through contemplative observation. In contrast, the tourist takes a break from daily routines, and looks for the experiential and authentic. Wandering without a goal, the flaneur is open for everything while committed to nothing. The more active position of the worker can be approached from any role. The worker is the producer of new stories and meaning, and in this role, the visitor can leave behind feedback and commentary for those who come after.

 

The roles are not meant to clarify whether something is good or bad art, but open up new perspectives for a visitor on the artworks, the exhibition and the museum as a public place for experience and exchange.

 

In order to assist visitors on their journey, there are a number of ‘game masters’ in the museum. They guide each role and help with orientation and giving feedback.

 

The artworks

In the Oudbouw (old building) of the museum the symmetry of the architecture has been exploited to construct a three-dimensional mandala in which visitors are taken on a journey through a landscape of artworks about individual and collective social experience. Works are on show by Ulay / Abramović, Georg Baselitz, Joseph Beuys, James Lee Byars, Hamish Fulton, Douglas Gordon, Jenny Holzer, Anselm Kiefer, Richard Long, Oliver Ressler, and others.

 

On the ground floor of the Nieuwbouw (new building) the exhibition continues, following a parcours that resembles a stroll through an unknown city. Visitors in their various roles can stay on the street or take a look behind the facades to discover more intimate and private artworks. Works by Sarah Charlesworth, Robert Delauney, Erwin van Doorn & Inge Nabuurs, Barry Flanagan, Surasi Kusolwong, Katharina Sieverding, Andy Warhol and Yang Zhengzhong, amongst others On the second floor of the Nieuwbouw (new building), the exhibition Time Machines – Reloaded is also on view during Play Van Abbe Part 4. Visitors find four presentations based on special museum models from the past. Like with Part 3, there are some changes in this exhibition during Part 4, in co-operation with guest curators and artists. Amongst other things, in April an important work by Marko Peljhan will be added.

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Open Smile
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