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创造幻像——彼得·温克作品的几点看法

(2008-09-20 11:43:51)
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玛瑙著     (毛卫东译)

 

按照亨利·列斐伏尔(Henri Lefebvre)的说法,空间永远不是像第一眼看上去那样,是中性的和绝对的。正如这位哲学家所断言的:“一个现有的空间可能超出其原有的目的以及决定其形式、功能和结构的存在理由;因此从某种意义上讲,它可能变成空白,很容易便受到转化和重新利用的影响,并被用于同起先完全不同的用处”。[1] 空间也是一种社会的产物,一个以反映社会实践和感知相关意义的价值体系为基础的复杂构架。具体的空间概念被视为思想和活动的工具,而同时也是其折射。

 

根据列斐伏尔的理论,当一位艺术家用特定场地的计划来处理某个空间时,他的任务既复杂又充满了风险,这不仅是因为他必须阐释某个具有错综复杂的意义及其社会文化“负担”的空间现有的本质,而且他还必须运用自己的作品来传达对这个环境本身的全新阐释,为业已存在并且有其自身特殊性的一切增添新的价值。就艺术家而言,艺术家仍然必须呈现一件独立的艺术作品。只有在最成功的案例当中,某个空间和某件艺术作品的结合促成了新的空间概念,导致了场地与作品之间渗透融合的过程,这并不意味着一个元素压倒了另一个元素,或者两个元素当中之一最终彻底灭绝了。

 

彼得·温克的作品跨越了大约十年的时间,其间艺术家勤勉地致力于分析空间的概念,使自己在面对一个新空间的时候摆脱任何一种偏见。当温克处理某个空间时,对他来说并没有现成的解决方案。也许正是这样一种开放性,使他能够在其他艺术家也许认为无法把握的空间当中游刃有余。艺术家本人变成了一张白纸,通过他对技术和形态的把握彼得·温克可以适应任何空间条件,“解读”每一种环境,并释放其潜力。这就好像温克并未创造什么亘古未有的环境,而是通过他在现场获得的对于一个空间精准的认识,为观众提供新的工具,使他们从一定程度上理解那些因为离我们太近而常常被忽略的日常空间。温克的工具恰好是他的艺术作品,在他的艺术冒险事业当中充当了舞台道具。它们是用来以可能最不冒昧的方式吸引观众的一种媒介,但是又能够毅然将观众的注意力引向已经成为这一活动真实现场的环境上去。

 

专门为北京酒厂空间设计构思的行为艺术品《升ROOK》以及声光装置F6,是温克所具有的诗意的典型例证,也展示了他具备重新设计并且在某种程度上指导空间的能力。耐心地安放在酒厂空间内部一座烟囱中《升ROOK》作品的气球,将会在眨眼之间放飞而去,而作品F6的声光效果也很快就会关闭。也许有人会自问,自己刚才面对的,是不是一件艺术作品。但是温克所赋予活力的空间仍然存在着,显然丝毫没有改变,尽管它们还要继续承载着一个非同寻常艺术过程缥缈但却真切的痕迹。

 

2008年9月于北京

 

玛瑙(Manuela Lietti)是一位独立艺术批评家和策展人。从2003年起,她主要在北京从事其工作。玛瑙于2003年毕业于威尼斯大学东方学院,其研究方向是中国当代艺术。之后,在2007年于北京清华大学美术学院取得了中国艺术史和艺术批评硕士学位。从2003年开始,她相继参与了中国国内外的多个艺术项目,其工作范围涵盖了策展、协调、研究以及评论等多个方面。



[1] 亨利·列斐伏尔著,《空间之生产》(The Production of Space), Wiley- Blackwell 出版社, 1992年版。

 

Engineering Illusions ---Some thoughts on the work of Peter Vink

By Manuela Lietti

 

According to Henri Lefebvre, space is never absolute and neutral as it would seem at first sight. As the philosopher affirms, “an existing space may outlive its original purpose and the raison d'être which determines its forms, functions, and structures; it may thus in a sense become vacant, and susceptible of being diverted, re-appropriated and put to a use quite different from its initial one.”[1] Space is also a social product, a complex construction based on values that reflect the meanings related to social practices and perceptions. Particular notions of space serve as tools for thought and action while being at the same time their reverberation.

 

On the basis of Lefebvre’s theory, when an artist approaches a certain space with a site-specific project, his/her task is complex and risky not just because he/she has to interpret the already existing nature of a certain space, with its intricate net of meanings and its socio-cultural “burden,” but also because he/she has to use his/her work to convey a new interpretation of the environment itself, adding value to what already exists and has its own specificity. In artistic terms, an artist still has to present a self-contained artwork. Only in the most successful cases, does the combination of a certain space and a certain artwork give birth to a new notion of spatiality, leading to a process of osmosis between site and work which doesn’t imply either the prevarication of one element over the other or the subsequent annihilation of one of the two elements.

 

The body of works of Peter Vink spans a period of almost ten years, during which the artist has painstakingly devoted himself to analyze the notion of space and to free himself from any kinds of preconceptions when facing a new environment. When Vink approaches a certain space, for him there are no ready-made solutions. Perhaps it is this openness that allowed him to operate in spaces other artists would consider too out of reach. The artist himself turns into a blank sheet of paper: through mastering technical and morphological issues he adapts to any spatial conditions, codifies the environment and releases its potential. It is as if Vink doesn’t create ex novo an environment, but through the accurate knowledge of a certain space acquired on site he offers to the viewer new tools to shed some light on those daily experiences that because are too near are often ignored. Vink’s tools happen to be his artworks that in his artistic venture act as stage props. They are a medium used to attract the attention of the viewer in the least intrusive way possible, but able to direct it resolutely towards the environment that becomes the actual site of the action.

 

The performance ROOK and the sound/light installation F6 specifically conceived for Beijing’s Liquor Factory are an example of Vink’s poetic and ability to redesign and at some extent direct space. The balloons patiently arranged into a chimney inside The Liquor Factory will fly away in the twinkling of an eye, the sounds and lights of the piece F6 will be soon turned off. Perhaps some people would even ask themselves if they have been confronted with an artwork. But, the spaces activated by Vink’s props/artworks will remain, apparently unchanged. Actually they will go on bearing the ethereal yet tangible traces of the unusual artistic process they underwent.

 

Beijing, September 2008

 

Manuela Lietti is an independent art writer, art critic and curator based in Beijing since 2003.  In 2003, she graduated from the Department of Oriental Studies of Venice University, completing her bachelor degree thesis on contemporary Chinese art.  Then in 2007, she received her Master’s in Chinese History of Art and Criticism from the Academy of Art and Design of Tsinghua University, Beijing.  Since 2003 she has been involved in various projects in China and abroad as a curator, coordinator, researcher and writer.

 


 

[1] Henri Lefebvre, The Production of Space, Wiley- Blackwell Publishing, 1992.

 

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