ART.ZIP issue 11 by Jingchen Liu

TE N E

D BY AR

ARTISTS LIVE AND WORK HERE

# MALEVICH: REVOLUTIONARY OF RUSSIAN ART 馬列維奇:俄國藝術革命 HERMIT IN THE CITY INTERVIEW WITH MICHAEL LANDY 大隱於市⸺專訪藝術家邁克爾·蘭迪

DISOBEDIENT OBJECTS 逆物 30 YEARS WEST 三十年河西

ACTING ALONE INTERVIEW WITH RICHARD WILSON 單獨行動:專訪藝術家理查德·威爾遜

ISSUE 11, 2014 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100

魅影世界为之静止

隆重推出魅影 – 史上最动感的劳斯莱斯您将亲身体验它的强劲动力，现代风格和戏剧张力。。

熱點話題

HOT TOPIC 025

011 007 The Human Factor 人本要素

009 Mondrian and his Studios 蒙德里安和他的工作室

011 Digital Revolution 數字化革命

013 Ming: 50 years that changed China

017 Malevich:

Revolutionary of Russian Art

馬列維奇：俄國藝術革命

019 Making Colour 工於色

021 Richard Tuttle: I Don’t Know or The Weave of Textile Language

023 Josh Faught: The Mauve Decade 喬希·福特：淡紫色的十年

025 Disobedient Objects 逆物

027 More

更多熱點

理查德·塔特爾：

明朝：改變中國的50年

我不知道，或者這是織物之語

015 Marina Abramović: 512 Hours 瑪麗娜·阿布拉莫維奇：512小時

固定專欄

EXCLUSIVE COLUMN 115

115

Studio in Contemporary Art

119

Alex Coles: The Transdisciplinary Studio

123

Glossary: Studio

當代藝術中的工作室

亞歷克斯·科爾斯:《跨領域工作室》名詞解釋：工作室

135 127

30 Years West

135

Acting Alone : Interview with Richard Wilson

三十年河西

單獨行動：專訪藝術家理查德·威爾遜

每期專題

SPECIAL FEATURE 047 029

About Artist’s Studio

030

Keep Walking 16:20

035

Figures

039

Hackney Study

關於藝術家工作室

下午四點二十的漫步一些數字哈克尼藝術區

043

Thoughts on the Studio

047

A Complete Workshop and Test Space

053 055

工作室隨想

完備的車間實驗室

Rewarding and Fun Community to Live 有益並有趣的社區生活

Hermit in the City

Interview with Michael Landy

大隱於市——專訪藝術家邁克爾·蘭迪

063

Collaborative Emotional Laboratory Interview with Marcus Lyon

協同作業的情感實驗室——專訪攝影師馬可斯·里昂

073 Place of Making

Interview with Ben Johnson

造物之所——專訪藝術家本·約翰遜

083 My Workshop, My Studio Interview with James Capper

我的車間工作室——專訪藝術家詹姆斯·卡珀

089 Painting Space

Interview with Danny Rolph

繪畫的天地——專訪藝術家丹尼·羅爾夫

097 A Symbol of Identity Interview with Fine Art Student Sun Yi 身份認同——採訪藝術生孫毅

101 Artist Studio Operators 藝術家工作室運營者

107 Wunderkammer Interview with Co-founder of Euroart Studios Lorraine Clarke 珍寶陳列室

專訪歐藝工作室聯合創辦人、藝術家羅琳·克拉克

ISSUE 11 2014

ART.ZIP

ISSN 2050-4152

Publisher 出版人

Liu Chunfen 劉春芬 Editor-in-chief 主編 Harry Liu 劉競晨

Executive Editor 執行編輯 Michelle Yu 余小悅 Editor 編輯

Hazel Ke 柯淇雯

Li Bowen 李博文 Sarah Pettitt

Guest Editor 特邀編輯 Josh Wright

Contributor 撰稿人 Monica Chung

Xinchun Jin 金心純 Anna McNay Rajesh Punj

Peng Zuqiang 彭祖強 Translator 翻譯

Syndi Huang 黃煥欣

Shoran Jiang 姜嘯然 Iris Shih 施孟慧 Yu Chang 于暢

IT Project Manager IT主管 Ace Xie 謝達明

Media Officer 媒體主管 Iris Shih 施孟慧

Advertising Manager 廣告客戶經理

Liu Tingting 劉婷婷, Wang Jiejing 王潔凈 Creative Director 創意總監

Li Ye 李燁, Ye Xianghui 葉向輝 Art Director 藝術指導

Gao Xiaodan 高曉丹, Wu Nan武楠 Managing Director 運營總監 Shi Yuese 石約瑟

NTE

D BY AR

NTE

D BY AR

REALLY?

ARTISTS

LIVE AND WORK HERE

ISSUE 11, 2014

MALEVICH: REVOLUTIONARY OF RUSSIAN ART 馬列維奇:俄國藝術革命 HERMIT IN THE CITY INTERVIEW WITH MICHAEL LANDY 大隱於市⸺專訪藝術家邁克爾·蘭迪

DISOBEDIENT OBJECTS 逆物 30 YEARS WEST 三十年河西

ISSUE 11, 2014 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100

ACTING ALONE INTERVIEW WITH RICHARD WILSON 單獨行動:專訪藝術家理查德·威爾遜

Visual Design 視覺設計 Bulletpin Studio Thanks to 鳴謝

Arts Council 英國藝術委員會

Ashmolean Museum 阿什莫林博物館 Barbican Centre 巴比肯藝術中心 British Museum 大英博物館

Design Museum 設計博物館

Dulwich Picture Gallery 達利奇畫廊 Euroart Studio 歐藝工作室

The Glassworks 玻璃車間工作室

Hannah Barry Gallery 漢娜·百麗畫廊 Hayward Gallery 海沃德画廊

Hepworth Wakefield Gallery 赫普沃·斯維克菲爾德畫廊 Hynek Martinec 海尼克·馬丁尼克 Launch Pad 發射台藝術項目

National Gallery 英國國家畫廊 OCCA 中國當代藝術辦公室

Serpentine Gallery 蛇形畫廊 Tate 泰特美術館

Thomas Dane Gallery 托馬斯·戴恩倫敦畫廊 Whitechapel Gallery 白教堂畫廊

Victoria & Albert Museum 維多利亞與阿爾伯特博物館 Address 雜誌社地址

GCCD Ltd. Elizabeth House, 39 York Road, SE1 7NQ, London, UK Website：www.artzip.org 聲明：

在ART.ZIP雜誌第十期中，由於我們的工作失誤，將撰稿人彭憶歐名字中的“憶”字錯誤地寫為了“一”，在此特別聲明更正，并致以最誠摯的道歉，也希望廣大讀者能夠繼續督促和幫助我們把編輯工作做得更好。

Correction: we would like to take this opportunity to apologize to our contributor Yiou Penelope Peng, 彭憶歐, as in the previous issue her Chinese name was

mistaken. We would like to express our gratitude to Penelope for the brilliant article

From Foundation to Future Artists: An Introduction to Foundation Courses in British Art Education, and also to apologize for any inconvenience caused. ART.ZIP welcomes comments and suggestions, or complaints about errors that

warrant correction. Messages and comments can be emailed to info@artzip.org.

EDITOR’S NOTE 主編寄語

An ‘artist’s studio’, literally, refers to the place where an artist works. For most people, an artist’s

studio is a place of mystery, the birthplace of numerous great works of art and romance. But what kind of a space is it? What is the interrelationship between the artist, their creation and the studio space? To help unveil this mystery, we visited a number of British artists in their studios, where

we were treated to a sneak peak behind the scenes, and heard from the horse’s mouth what the

significance of such a sacred place is. With this insider knowledge, we are able to reveal and present a hand-picked selection of artists and their studios from around the UK.

藝術家工作室，最直接的理解便是藝術家們工作的地方。但對一般人來說， “藝術家工作室”總是給人一種

神秘感，在這裡誕生了無數偉大的藝術作品和充滿傳奇的故事。那麼到底藝術家工作室是怎樣的一個空間

呢？藝術家、工作室以及他們的創作之間的關係又是怎樣的呢？為了揭開藝術家工作室神秘的面紗，我們走訪了眾多的英國藝術家工作室，通過訪談、藝術家自述、數據分析等方式來為大家展現“工作室”在英國藝術環境內的基本情況。

HARRY LIU 劉競晨

Editor-in-chief 主編

The Human Factor 人本要素 Spanning the past 25 years, The Human Factor will bring together major works by 25 leading

international artists who have fashioned new ways of using the figure in contemporary sculpture. In

addressing the body, the most frequently revisited subject in art’s history, these artists confront the

question of how we represent the ‘human’ today. Figurative sculpture may be almost as old as the Maurizio Cattelan, Him, 2001, Installation view, The Human Factor, Hayward Gallery 2014.

human body, but it is also as fresh and vital as

whatever new approaches, materials, techniques and ideas artists apply to the subject.

The Human Factor focuses on sculpture that

explores a variety of social, political, cultural and historical concerns and incorporates diverse

references ranging from science fiction to war

monuments, from popular photography to art

history. The exhibition comprises uncanny images of historical and political figures including Adolf

Hitler, John F. Kennedy, Dick Cheney and Jesus, as

well as hauntingly familiar archetypes and enigmatic symbols of consumer culture. Many of these works

also pointedly revisit classical and archaic models of art as well as modernist sculpture and Minimalism. Ultimately, these artists treat the human body as a kind of rhetorical figure, a means for staging and exploring the ways that our society constructs identities, social positions and values.

Mirroring the viewer’s own physical presence, these

sculpted figures engage visitors in a kind of theatrical confrontation in the gallery. Whether they function as a surrogate for the spectator or as a fellow actor sharing the same stage, they create encounters

that can be at once playful, thought-provoking and unsettling.

Paul McCarthy, That Girl (T.G. Awake), 2012–2013 (detail), Installation view, The Human Factor, Hayward Gallery 2014, Photo Linday Nylind, © Paul McCarthy

小貼示

展覽場地：HAY WARD GALLERY 海沃德畫廊展覽時間：17.6.2014 – 7.9.2014

更多信息：w w w.southbankcentre.co.uk

《人本要素》彙聚了25位全球頂尖藝術家的作品，為觀眾呈現了縱覽過去25年間在當代雕塑領域中藝術家們是如何用新

的表達方式來塑造“人”的形象的。對人類肢體形象的表達是藝術史中非常重要的一個課題，此次參展的藝術家面對的問

題是如何呈現當下“人”的形象。具象人體雕塑的歷史可能和人類本身一樣古老，但藝術家們通過不同的製作工藝、新奇

的材料、科技亦或者是不同的觀念上的創造一直讓這種藝術形式保持了鮮活的生命力。

《人本要素》展出的雕塑作品集中展現和探討了對各種社

會、政治、文化和歷史問題的思考，同時展覽關照的範圍也極為寬泛，涉及了從科幻作品到戰爭紀念碑；從流行影像到

藝術史等各個領域。展覽中展出了很多不同尋常的歷史和政治人物，比如阿道夫·希特勒（Adolf Hitler）、肯尼迪（John F.

Kennedy）、切尼（Dick Cheney）和耶穌等形象，同時也展出了很多耳熟能詳的消費主義代表符號和圖像。很多參展作品

都針鋒相對地審視了過往藝術史中那些已經成為經典的作品和觀念，比如像現代主義雕塑和極簡主義。歸根結底，這些藝術家是將“人體”作為一種修辭手段，以此來呈現和探索我們對社會框架的認知、進行對社會地位和價值體系的思考。

從觀者的角度來說，觀眾本身的物理存在與作品之間的映襯

關係使展覽空間當中產生了一種極富戲劇性的對峙狀態，這些雕塑作品不論是作為被替代的觀眾或者是作為共享同一個舞台的演員，它們都營造了一種值得玩味、發人深省和忐忑不安的特殊體驗。

Mark Wallinger, Ecce Homo, 1999 Installation view, The Human Factor, Hayward Gallery 2014, Photo Victor Frankowski

Tips

Reconstruction of 26 rue du Depart, Paris based on 1926 Photo by Paul Delbo. © 2014 STAM, Research and Production: Frans Postma Delft-NL. Photo: Fas Keuzenkamp © 2014 Mondrian/Holtzman Trust c/oHCR InternationalUSA

Mondrian and his Studios 蒙德里安和他的工作室 Tips

展覽時間：6.6.2014 – 5.10.2014

更多信息：w w w.tate.org.uk

小貼示

展覽場地：TATE LIVERPOOL 泰特利物浦美術館

the most important contributors to the development of abstract art at the beginning of the 20th century.

Mondrian and his Studios, which commemorates

the 70th anniversary of the artist’s death, will provide new insights into the artist’s practice, his relationship

with architecture and urbanism, and his contribution to the development of modern thought. The

exhibition will present a diverse group of key abstract paintings, alongside the life size reconstruction of

Mondrian’s Paris studio which will allow visitors to

physically inhabit a replica of the unique environment that the artist created.

Mondrian and his Studios considers not only his importance in the field of abstraction, but also the

complex relationship between his artworks and the space around them. The exhibition will focus on

this connection between painting and architecture after Mondrian’s move to Paris in 1911, with a

reconstruction of his studio at 26 Rue du Départ, Paris being a major highlight of the display. Mondrian’s

Dutch painter Piet Mondrian (1872–1944) was one of

studios in Amsterdam, Paris and New York all

represented an ideal viewing space, each studio reflected different stages of the painter’s way of

thinking and of his intentions: the studios themselves form a distinct strand of his work, alongside his

荷蘭藝術家皮特·蒙德里安（1872-1944）是對20世紀初出現的抽象藝術作出最重要貢獻的一位藝術家。為了向這位逝世70週年的傑出藝術家致敬，泰特利物浦美術館

特別籌劃了展覽《蒙德里安和他的工作室》。此次展覽從新的視角來審視蒙德裡安的

藝術實踐、他與建築和城市的關係以及他對現代思想發展作出的貢獻。除了展出蒙德里安各個不同系列的重要抽象繪畫作品以外，泰特還在展館內重建了他在巴黎的工作室，讓觀眾可以身臨其境地去體驗藝術家創造的獨特藝術氛圍和環境。

《蒙德里安和他的工作室》不僅僅著重突出其在抽象藝術中所作出的貢獻，同時也

重點展現了他的藝術作品與空間的複雜關係。展覽中將蒙德里安1911年移居巴黎以

後進行的將繪畫與建築結合的探索和實踐作為重點，重建的蒙德里安巴黎工作室也

是該展的一大看點。同時他在阿姆斯特丹、紐約等地的工作室也都有所展示，每個工作室空間都反映了其思想和創作發展的不同階段：工作室本身成為了他除了繪畫與寫作以外的另一個例證。

painting and writing.

Digital Revolution 數字化革命 Digital Revolution explores and celebrates the transformation of

《數字化革命》展現了從上世紀70年代以來數碼科技給藝

brings together for the first time a range of artists, filmmakers,

呈現的新的表現形式。展覽將眾多不同領域的藝術家彙聚

the arts through digital technology since the 1970s. The exhibition architects, designers, musicians and game developers pushing the boundaries of their fields using digital media. It also looks to the

future considering the impact of creative coding, DIY culture, digital communities and the creative possibilities offered by technologies including augmented reality, artificial intelligence, wearable technologies, robotics and 3D printing.

Neil McConnon, Head of Barbican International Enterprises and

project commissioner, said: Showcasing a new generation of artists,

designers, filmmakers and musicians, Digital Revolution celebrates

creatives who are pushing artistic boundaries across the arts using digital media. Through a series of gallery based work and public interventions the exhibition, transforming the Barbican into an

animated canvas - inspiring digital natives, gamers, movie fans, retro

Digital Revolution, installation images: The Treachery of Sanctuary in the State of Play section Barbican Centre 3 July - 14 September 2014 , © Matthew G Lloyd/Getty Images

geeks, family groups and art fans alike.

術帶來的巨大影響，以及各門類藝術形式通過數碼技術所一堂，囊括了電影、建築、設計、音樂、遊戲各領域精英，他們都在其專業領域內運用數碼技術拓展了他們的藝術實踐。展覽着重於展示數碼科技在編程、數字化交流以及各種

新科技如模擬現實、人工智能、機器人、三維立體打印和可穿戴技術給藝術提供的新的可能性。

巴比肯國際事業部主管及項目負責人尼爾·麥康（N e i l

McConnon）說： “《數字化革命》展示了新一代藝術家、設計師、電影和音樂人是如何通過數碼科技來拓展藝術的疆界。通過一系列基於畫廊空間的作品和與公眾的互動，整個巴比

肯中心將被打造成一個動態的‘畫布’，讓數碼一代不論是遊

戲玩家、電影粉絲、復古迷、家庭或者藝術愛好者都可以享受其中。”

展覽場地：BARBIC AN CENTRE 巴比肯中心

更多信息：w w w.barbican.org.uk Petting Zoo, 2013 Minimaforms, Theodore Spyropoulos and Stephen Spyropoulos Photo by Apostolos Despotidis , Image courtesy the artist

Robots of Brixton, 2011 ,Factory Fifteen Image courtesy of Factory Fifteen

展覽時間：3.7.2014 – 14.9.2014

小貼示

Digital Revolution, installation images , Umbrellium’s Assemblance section Barbican Centre , 3 July - 14 September 2014 © Matthew G Lloyd/Getty Images

Pixorama (London), 2006, eBoy, Image courtesy of eBoy

Tips Digital Revolution, installation images , We Create section Barbican Centre , 3 July - 14 September 2014 © Matthew G Lloyd/Getty Images

Image of Fairlight CMI series III Peter Vogel and Kim Ryrie , Image courtesy of Peter Vogel

Ming: 50 Years that Changed China 明朝：改變中國的50年 In September 2014 the British Museum will stage a

major exhibition on a golden age in China’s history－－

Detail of handle of Yongle sword. Iron, gold, silver, wood and leather.Yongle c. 1420. © Royal Armouries

Ming:50 Years That Changed China. The exhibition

will explore the years 1400 – 1450, a pivotal 50 year

period that transformed China during the rule of the

Ming dynasty. In this period the capital is established in Beijing and the borders of China are fixed as they are today. Bureaucrats replace military leaders in

the hierarchy of power. The exhibition will include

rare loans of some of the finest objects ever made in

China, shedding light on this important part of world history that is little known in Europe. China’s internal transformation and connections with the rest of the

world led to a flourishing of creativity from what was, at the time, the only global superpower.

This period for China was a time of extraordinary

engagement with the world and of fascinating cultural diversity. The explorer Zheng He pioneered China’s maritime history, sending treasure ships to South

East Asia, the Middle East, and Africa. This is the first exhibition to explore the great social and cultural

changes in China that established Beijing as a capital city and the building of the Forbidden City. Tips

小貼示

展覽場地：BRITISH MUSEUM 大英博物館展覽時間：18.9.2014 – 5.1.2015

更多信息：w w w.britishmuseum.org

代的重要展覽《明朝：改變中國的50年》。展覽主要集中展

示了1400﹣1450年明朝統治下中國的變化，這期間的中國首

都遷至北京，其領土疆域也和今天大致相同，士人官僚取代

軍事領袖成為政治權力的主宰。中國明朝在世界歷史上具有

重要的意義，但對歐洲人來說卻非常陌生。此次展覽中囊括

了很多中國歷史上最為重要、最為精緻的珍貴文物，通過這

些展品，展覽為歐洲人打開了一扇窗來了解這段歷史和中國

文化，從而一窺當時世界上唯一一個超級大國的內部變遷以

及其與世界的互動。

展覽介紹的明朝這50年是中國與世界進行非凡互動並且極

具文化魅力和多樣性的一個特定歷史時期，鄭和開創了中國

的航海史，他給東南亞、中東和非洲送去珍貴的寶物。這個

展覽同時也是第一次為西方觀眾展示了明朝遷都北京并修

建紫禁城給中國社會及文化帶來的巨大變革。

A pair of gold pillow ends, decorated with two dragons and worked in relief with chased detail and openwork. Gold, rubies, turquoise and other precious and semi-precious stones, Beijing or Nanjing, Xuande era, 1426-1435. © The Trustees of the British Museum

Large porcelain flask painted with underglaze blue decoration of lotus flowers. Made in Jingdezhen, Jiangxi (province), China, 1426 – 1435, Ming dynasty Xuande (reign). © The Trustees of the British Museum

Portrait of Yang Hong (1381-1451). Ming dynasty, Jingtai reign, ca. 1451. Ink and color on silk. H x W (painting): 220.8 x 127.5 cm (86 15/16 x 50 3/16 in) Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C.: Purchase--Smithsonian Collections Acquisition Program, and partial gift of Richard G. Pritzlaff, S1991.77

2014年9月，大英博物館將舉辦一個展現中國歷史上黃金年

Black and white photo, Marina conducting rehearsal for “Bolero” - Portrait of Marina Abramovic , ©Rahi Rezvani, Paris 2013 Paris

Marina Abramovic: 512 Hours 瑪麗娜·阿布拉莫維奇： 512小時

In a unique work created for the Serpentine, the internationally acclaimed artist Marina

Abramović will perform in the Gallery for the duration of her exhibition: 10am to 6pm, 6 days

a week – for a total of 512 hours. Creating the simplest of environments in the Gallery spaces,

Abramović’s only materials will be herself, the audience and a selection of common objects that she will use in a constantly changing sequence of events.

Tips

小貼示

展覽場地：Serpentine Galler y 蛇形画廊展覽時間：11.6.2014 – 25.8.2014

更多信息：w w w.serpentinegalleries.org

Marina Abramović (b. 1946) is a pioneer of performance as an art form, using her own body as

subject and object, she has consistently pushed the physical and mental limits of her being. 512

Hours is the first major performance by Abramović since her monumental piece The Artist is Present, at the Museum of Modern Art, New York in 2010, in which visitors were invited to sit in silence opposite the artist and gaze into her eyes for an unspecified amount of time. Abramović performed this work every day for three months.

The presence of the visitors will guide Abramović, assisting in the development and changing nature of the exhibition throughout her residency. As she states: “It is not … enough that I’m

experiencing doing a performance in front of you and you are just passing as witness. If you really want to have your own experience, the only thing that matters is to … perform yourself.” As an

extension of this statement, Abramović requires the audience to involve themselves directly and intimately in the performance; the public will become the performing body, participating in the delivery of an unforgettable moment in the history of performance art.

Julia Peyton-Jones, Director, and Hans Ulrich Obrist, Co-Director, Serpentine Galleries, have said:

“Incredibly, this is the first time a public art gallery in the UK has staged a durational performance by Marina Abramović who, since the early 1970s, has done more than anybody to define what

performance art is. With a simplicity that harks back to her earliest solo performances, this time

there are no rules, there is no formula. Just the artist, the audience and a few, simple props in the empty, white space of the Serpentine Gallery. Marina requests your presence at the Serpentine this Summer. And so do we.”

《512小時》是国际知名藝術家瑪麗娜·阿布拉莫維奇為蛇形美術館獨家打造的個展。每週六天，從早晨10點至晚上6點，阿布拉莫維奇將在展場內進行總共512小時的行為藝術實踐。展覽中

呈現的是極致簡約的空間環境，阿布拉莫維奇用她自己、觀眾和一些日常生活用品來呈現一系列不斷變化的實踐。

瑪麗娜·阿布拉莫維奇，生于1946年，是行為藝術的先驅；她將自己的身體作為主体与客体，並且不斷挑

戰自己的身體與心理極限。《512小時》是繼她2010年在紐約現代藝術博物館展出《藝術家在場（Artist is Present）》之後的又一主要展覽。在紐約舉辦的《藝術家在場》展覽上，觀眾可以靜坐在阿布拉莫維奇對面與其對視，時間不限。

在《512小時》里，她更多的是希望觀眾來引導她，并協助她發展并完善此次展覽。正如她所闡述的一樣： “你作為看客是遠遠不夠的，如果你希望能有自己獨特的體驗，唯一的辦法就是——展示你自己。”因此，阿布拉莫維奇需要觀眾們更加直接地、深入地投入展覽中，從而觀眾才能成為表演的主體，體會行為藝術歷史上這一難忘的時刻。

館長茱莉亞佩頓·瓊斯（Julia Peyton-Jones）以及蛇形美術館聯合策展人漢斯·烏爾里希·奧布里斯特

（Hans Ulrich Obrist）紛紛表示： “令人難以置信的是，這是阿布拉莫維奇首次在英國的公共藝術空間里現場演出。自1970年早期以來，她身體力行地告訴人們什麼是行為藝術。回顧她最早期的作品，這次，沒有規則和標準，只有藝術家、觀眾、簡單的道具以及畫廊的空間。瑪麗娜邀請您的參與，我們也一樣。”

Kazimir Malevich, Black Square 1929, © State Tretyakov Gallery, Moscow

Malevich: Revolutionary of Russian Art 馬列維奇：俄國藝術革命

Kazimir Malevich, Self Portrait 1908-1910 ,  State Tretyakov Gallery, Moscow, Russia

Tips

小貼示

展覽場地：Tate Modern 泰特現代美術館展覽時間：16.7.2014 – 26.10.2014 更多信息：w w w.tate.org.uk

Kazimir Malevich (1878–1935) was a radical, mysterious and hugely influential figure in modern art, who lived and worked through one of the most turbulent periods in twentieth century history.

Tate Modern will present the first major Malevich retrospective for

almost twenty-five years. This groundbreaking exhibition will draw

on the world’s greatest collections of his work to offer an expansive view of his career in its entirety.

Having come of age in Tsarist Russia, Malevich witnessed the

在20世紀，有過一段最動盪不安的時期，那時的當代藝術圈誕生了一

led him towards the cataclysmic invention of Suprematism, a bold

奇·馬列維奇。2014年盛夏，英國泰特現代美術館舉辦了馬列維奇的回

October Revolution first-hand. His early experiments as a painter visual language of abstract geometric shapes and stark colours,

epitomised by the Black Square. A definitively radical gesture, it

位激進的、神秘的、對後世極具影響力的人物——卡西米爾·塞文洛維顧展，這也是近25年以來回顧其藝術生涯的最大規模的一次展覽。

was revealed to the world after months of secrecy and was hidden

當時身處沙皇時代的馬列維奇，親身經歷了俄國十月革命。他早期作

part with Duchamp’s ‘readymade’ as a game-changing moment

成為至上主義（Suprematism）藝術的開山鼻祖，其作品運用了大膽

again for almost half a century after its creator’s death. It sits on a in twentieth century art and continues to inspire and confound viewers to this day.

Starting from his early paintings of Russian landscapes, agricultural workers and religious scenes, visitors will see Malevich’s

journey towards abstract painting and his iconic Suprematist

compositions, including almost all the surviving paintings from the

為畫家所進行的各種藝術實驗引領他創作出具有顛覆性意義的作品，

的視覺表達方式，將鮮明的色彩和抽象的幾何圖形相結合，其代表作

為《黑色方塊（the Black Square）》。由於該作品絕對的先鋒性，該作品一再被雪藏直到馬列維奇逝世半個世紀以後才算真正公開向世

人展示。這些作品和杜尚（Duchamp）的“現成品（readymade）藝術”改變了20世紀藝術的發展軌跡，而且直到今天這些作品依然激發著觀眾們的興趣，圍繞它們的討論也從未停歇。

legendary 0.10 exhibition. The show will explore his collaborative

從他早期的俄國風景、農民、宗教場景繪畫為起點，觀眾可以看到

for the avant-garde opera Victory over the Sun. The exhibition

至上主義藝術風格。展覽中呈現了來自當年傳奇展覽《0.10（最後的

involvement with architecture and theatre, including his designs

will also follow his temporary abandonment of painting in favour

of teaching and writing, and his much-debated return to figurative painting in later life.

Malevich’s work tells a fascinating story about the dream of a new social order, the successes and pitfalls of revolutionary ideals, and the power of art itself. This exhibition will, for the first time, offer

visitors a chance to trace his groundbreaking developments not

馬列維奇是如何一步步走向抽象繪畫，并最終發展成具有標誌性的

未來主義畫展）》中幾乎所有的存世作品。展覽也展示了馬列維奇在建築和戲劇領域之間的合作，其中有他設計的未來主義歌劇《勝日

（Victory over the Sun）》；除此之外，展覽還介紹了馬列維奇短暫的教書和寫作生涯以及其晚期備受爭議的回歸寫實風格的作品。

馬列維奇的作品描繪了一個引人入勝的故事：關於新社會秩序的夢想；關於革命理想的成功與幻滅；關於藝術本身的力量。

only through well-known masterpieces but also through earlier

通過對比展示馬列維奇早期及晚期的繪畫、雕塑、設計以及一些罕見

drawings.

如此完整地體驗這位大師每一次的藝術突破和顛覆性的創造。

and later work, sculpture, design objects, and rarely-seen prints and

的版畫和素描，還有那些眾所週知的代表作，此次展覽讓觀者第一次

Hilaire Germain Edgar Degas, Combing the Hair (‘La Coiffure’), about 1896, Oil on canvas, 114.3 x 146.7 cm, The National Gallery, London

Making Colour 工於色

Making Colour, the first exhibition of its kind in the UK, offers visitors

《工於色》為觀眾提供了一種全新的展覽體驗。參觀者可以通過

to create colour in paintings and other works of art. Using the National

那些被廣泛使用的原材料。英國國家畫廊將自己的藏品和從其

an exceptional opportunity to discover the wide-ranging materials used Gallery’s own paintings and loans from major UK cultural institutions,

the exhibition traces the history of making colour in Western paintings, from the Middle Ages to the end of the 19th century.

此次展覽更好地了解繪畫和其它藝術作品中顏色的形成，以及他機構租借來的展品進行集中展示，通過它們來追溯從中世紀到19世紀末西方繪畫顏料製作的歷史。

Claude Monet, Lavacourt under Snow, about 1878-81, Oil on canvas, 59.7 x 80.6 cm, The National Gallery, London

The exhibition brings together the worlds of art and science to explain how

artists overcame the technical challenges involved in creating colour. Making

Colour shows the material problems faced by artists in achieving their painterly aims, the breakthroughs they struggled for, and the difficulties they faced in

creating works of art that were both beautiful and enduring. Making Colour

looks at its subject from multiple perspectives. It examines the origins of

paint sources – be it the natural world or human invention – and their supply, manufacture and application, as well as their permanence and colour effect.

Making Colour is illustrated at every stage by National Gallery paintings,

complemented by selected objects on loan, such as Joseph Mallord William

Turner’s paintbox. The exhibition includes Claude Monet’s Lavacourt under Snow (about 1878–81) on display with lapis lazuli figurines from the British Museum and

Tips

小貼示

the Ashmolean Museum, Oxford. Anthony van Dyck’s Lady Elizabeth Thimbelby

and her Sister (1637) and elaborate majolica plates from the British Museum

help to illustrate the story of yellow. In the red room Degas’s Combing the Hair

(La Coiffure) (about 1896) and Masaccio’s Saints Jerome and John the Baptist

展覽場地：National Galler y 英國國家畫廊展覽時間：18.6.2014 – 7.9.2014

更多信息：w w w.nationalgaller y.org.uk

(about 1428–9) are displayed alongside fragments of beautiful crimson velvet brocade on loan from the Victoria and Albert Museum, London.

Gallery, said: “Artists from the Middle Ages to the present day have sought to

find suitable pigments and colours. This exhibition is a wonderful opportunity to celebrate this quest for colour. Thanks to the work of our Scientific Department, we can add another layer to our understanding of how artists created such beautiful images.”

展覽將藝術和科技兩個領域的發展有機地結合起來，講述了藝術家們是如何克服和解

決了在顏料製作過程中出現的種種挑戰和難題。《工於色》展示了藝術家們為了尋求突破、為了達成其創作的初衷、亦或是為了創造傳世不朽的美麗畫作時要面對的各種

關於“顏料材質”的難題。展覽從各種不同角度對這個問題進行了闡釋，從顏料的來源 ──不論是人工的還是天然的、供應、生產、應用、持久性和色彩表現力等各個層面進行了分析和展示。

《工於色》展示了國家畫廊各個時期的藏品，同時精選了一些外借的物件作為補充，比如

J.M.W.特納（Joseph Mallord William Turner）的顏料盒等。此次展覽展出的作品包括：克勞德·莫奈（Claude Monet）的《雪中的拉維格（Lavacourt under Snow）》（1878–81），同它一起展出的還有來自大英博物館與牛津阿什莫林博物館的青金石雕塑、安東尼·梵

戴克（Anthony van Dyck）的《伊麗莎白·西姆布萊比小姐和她的姐妹（Lady Elizabeth Thimbelby and her Sister）》（1637）和用來講述黃顏色背後故事的精緻琺瑯彩盤子，紅色房間裡陳列著德加（Degas）的《梳髮（La Coiffure）》（1896），馬薩喬（Masaccio）

的《聖傑羅姆和施洗約翰（Saints Jerome and John the Baptist）》（1428-9）與從維多利亞及阿爾伯特博物館借來的美麗的深紅色花絲絨碎片一起陳列展示。

英國國家畫廊策展人卡羅琳·坎貝爾（Caroline Campbell）表示： “從中世紀至今，藝術家都力求找到他們所需要的顏料和顏色。在對顏色探索的漫漫長路中，此次展覽可被視

為一個階段性的勝利。通過科研人員的不懈努力，我們可以更深入地了解藝術家是如何創造出如此美麗的圖畫的。”

Masaccio, Saints Jerome and John the Baptist, about 1428-9, Egg tempera on poplar, 125 x 58.9 cm, The National Gallery, London

Caroline Campbell, Curator of Italian Paintings before 1500 at the National

Richard Tuttle: I Don’t Know or The Weave of Textile Language 理查德·塔特爾：我不知道，或者這是織物之語 Whitechapel Gallery and Tate Modern announce a major collaboration celebrating artist Richard Tuttle.The UK’s largest ever survey of the

renowned American sculptor and poet Richard Tuttle will take place in London this October. It will comprise a major exhibition at the Richard Tuttle , Space-is-Concrete (5) , (2005) , Acrylic and graphite on spun plastic with Golden® black gesso 91.4 x 50.8 cm , Photograph by G.R. Christmas, courtesy Pace Gallery Image © Richard Tuttle, courtesy Stuart Shave/Modern Art, London and Pace Gallery, New York

Whitechapel Gallery surveying five decades of his career, a largescale sculptural commission in Tate Modern’s Turbine Hall and a

new publication. Entitled I Don’t Know, Or The Weave of Textile Language, this unique project has been specially devised by the artist

and focuses on the particular importance of textiles in his work.

Richard Tuttle (b 1941) came to prominence in the 1960s, combining sculpture, painting, poetry and drawing. He has become revered for

his delicate and playful approach, often using such humble, everyday

materials as cloth, paper, rope and plywood. For this project, Tuttle has taken as his starting point one of the unsung heroes of everyday life: textiles. Textiles are commonly associated with craft and fashion, yet

woven canvas lies behind many of the world’s most acclaimed works of art and textiles are of increasing interest to artists today. I Don’t Know,

Or The Weave of Textile Language investigates the importance of

this material throughout history, across Tuttle’s remarkable body of work and into the latest developments in his practice.

Alongside this exhibition, Tate Modern will present a newly

commissioned sculpture in its iconic Turbine Hall from 14 October 2014 to 6 April 2015. Principally constructed of fabric, it will be the largest

work ever created by the artist, measuring over twelve metres in height. It will bring together a group of specially-made fabrics, each of which combines natural and man-made fibres to create different textures in bright colours.

Richard Tuttle , Systems, VI, (2011) ,Powdered tire rubber mixed with acrylic, vinyl-coated steel cable, nails, wire, white 3’ electrical cord , 254 x 289.6 x 289.6 cm , Photograph by Kerry Ryan McFate, courtesy Pace Gallery Image © Richard Tuttle, courtesy Stuart Shave/Modern Art, London and Pace Gallery, New York Lender: Tate, purchased with assistance from the Karpidas Family (Tate Americas Foundation) 2013

同為著名美國雕塑家及詩人理查德·塔特爾舉行至今其在英國最大規模的個人展覽項目。這次合作項目主要

由三部分組成：白教堂畫廊展出的是塔特爾過去50年的藝術創作，而泰特美術館的年度渦輪廳藝術定製也將由塔特爾完成，除此之外還有塔特爾的新書發佈。這

次絕無僅有的合作項目《我不知道，或者這是織物之語》由塔特爾精心設計，重點突出了織物在他創作中的重要性。

理查德·塔特爾生於1941年，他善於結合和運用各種藝術形式，雕塑、油畫、詩歌和素描，1960年便開始在藝

術舞台上展露鋒芒。他細膩且戲謔的表達方式受到了

許多人的喜愛，他善於利用那些不起眼的日常生活材料進行創作，比如布料、紙張、繩子、夾板等。在這個項目

中，塔特爾選擇了日常生活中的無名英雄－－織物－－作為創作的基點。織物通常都與手工藝和時尚聯繫起來，有誰會留意到絕大部分的藝術名作其實也是在這

樣平凡的編織帆布上完成的呢？當下很多藝術家也慢

慢開始利用織物來進行藝術創作了。這次的聯合項目不僅審視了紡織材料在人類歷史上的重要性，同時也深入探討了塔特爾過去大量的織物創作以及最新的藝術實踐。

除了在白教堂畫廊的塔特爾個展以外，泰特現代美術

館亦將在2014年10月14日至2015年4月6日期間於渦輪展廳展出塔特爾最新的大型雕塑作品。這件高度超過

12米的定製作品將是他創作生涯中最為巨型的織物雕塑，作品材料包括許多特製布料，當中結合了自然纖維和人造纖維，創造出了獨一無二的紋理和色彩。

Tips

小貼示

展覽場地：Whitechapel Galler y 白教堂畫廊 Tate Modern 泰特現代美術館

展覽時間：14.10.2014 – 14.12.2014

14.10.2014 – 06.04.2015

更多信息：w w w.whitechapelgaller y.org w w w.tate.org.uk

Richard Tuttle Walking on Air, C3, (2009) Cotton with Rit dyes, grommets, thread 2x panels, overall installed: 58.4 x 316.8 cm Photograph by Kerry Ryan McFate, courtesy Pace Gallery Image © Richard Tuttle, courtesy Stuart Shave/Modern Art, London and Pace Gallery, New York

2014年10月，倫敦白教堂畫廊將與泰特現代美術館共

The Mauve Decade by Josh Faught at Launch Pad. Photograph by Noah Da Costa. Image courtesy of Launch Pad.

Josh Faught: The Mauve Decade 喬希·福特：淡紫色的十年

Launch Pad is delighted to present the second site-specific commission at the home of

Launch Pad founder and contemporary art patron, Sarah Elson. San Francisco-based artist

Josh Faught will have free rein in part of Elson’s West London family home to create several works in response to the space.

Josh Faught (b.1979) makes hand-woven and embellished sculptures and installations

that address personal and cultural identity. For Launch Pad, Faught’s commission titled

“The Mauve Decade” refers to the period known as the “Gay Nineties,” or 1890s London.

The title encapsulates aesthetic, political and historical shifts and fashions that were at play during the development of suburban London. Staying physically safe, protected

from unsanitary conditions and airborne pollutants of the city centre in later 19th century was a primary driver in the exodus of Britain’s wealthier citizens to the suburbs. Faught is

interested in “this space of transition and restlessness that led people to create homes and environments that were boundaries, protective havens, and sites of isolation.” As Faught

explains, the colour mauve “is an incredibly divisive color; at once garish and slightly noble.” Derived from aniline purple dyes that were later discovered to be completely toxic, mauve

was originally more of a royal purple. However, with sunlight and time, the colour degraded to a dustier hue. “The Mauve Decade” will address themes of transition and time, danger

and protection, occupying the centre of the house with several works.

Launch Pad was established January 2014 to offer a platform to emerging artists who have not yet exhibited their work in the UK. Up to three artists a year will be invited to respond

to and exhibit within the domestic environment of the collector’s home. The programme endeavours to open and expose the commissioning process to the public, and as such, is a unique proposition for patron and artist alike. In an era of increasing hybridity between

public and private art collections, the Launch Pad series explores this paradigm, operating as a laboratory for new, commissioned work.

“發射台”項目最新的藝術定製委託作品在項目創始人兼當代藝術贊助人莎拉·埃爾森（Sarah

Elson）的宅邸進行展出。此次受委託的藝術家是來自舊金山的喬希·福特（Josh Faught），在此項目中，藝術家可以在莎拉的住所進行自由的發揮創作。

藝術家喬希·福特，生於1979年，他通過使用手工編織、裝飾雕塑與裝置的形式來表達個人及文化觀

點。福特將此次的委托作品命名為《淡紫色的十年》，指的是“同志90年代”，也就是指十九世紀最後

十年的倫敦。作品名稱影射了那個時期下美學、政治、歷史的變化，還有倫敦邊郊地區發展過程中時

尚所起的作用。在19世紀晚期，為了避開市中心嘈雜混亂的環境和污濁的空氣，富人們開始紛紛轉移到倫敦的郊區生活。福特對這一現象產生了濃厚的興趣——居所的轉變與躁動迫使人們重新創建家園和環境，嘗試構建一個與世隔絕的、類似世外桃源的地方。福特說， “淡紫色是一種非常分裂的顏色，

時而顯得花俏，時而又帶點高貴，淡紫色本來是皇家愛用的一種紫色，從苯胺紫染料中提取的，但後

來才發現這種製作工藝是對人體有害的，而且隨著陽光照射和時間的推移，原本的淡紫色也會變得越來越灰。《淡紫色的十年》圍繞著“轉變與時間”、 “危險與保護”這樣的主題而展開，這一系列的作品均會在埃爾森家中展示。

“發射台”項目創立於2014年1月，主旨是為那些尚未在英國舉辦過展覽的新生代藝術家們提供一個展示的平臺。項目一年邀請三位藝術家在收藏家的宅邸中舉辦展覽。這個項目將竭力為大眾展示整個

藝術定製的過程，同樣的，這對於贊助人和藝術家來說也是一個前所未有的命題。在公共和私人藝術藏品日益豐富的年代， “發射台”正努力探索著這種全新的創作模式，不斷打造新的藝術委託項目。

Coral Stoakes, I wish my boyfriend was as dirty as your policies, Date: 2011, Photo © Victoria and Albert Museum, London

Disobedient Objects 逆物

The V&A will this summer present the first exhibition

to explore objects of art and design from around the world that have been created by grassroots social

movements as tools of social change. From Chilean folk

art textiles that document political violence to a graffitiwriting robot, defaced currency to giant inflatable

cobblestones thrown at demonstrations in Barcelona, to a political video game about the making of mobile

phones, Disobedient Objects will demonstrate how

political activism drives a wealth of design ingenuity. The exhibition will showcase forms of making that

defy standard definitions of art and design. The objects that will be on display are mostly produced by nonprofessional makers, collectively and with limited

resources as effective responses to complex situations.

今年夏天，倫敦維多利亞及阿爾伯特博物館舉辦了《逆物》這樣一個展覽，展覽第一次將世界各地的民主運動和草根社

會運動中出現和使用過的設計和藝術品集合起來，從而展示全球範圍內的各種民主及社會運動是如何將藝術與設計作

為工具來改變我們的社會的。《逆物》展示了一系列內容豐富的“物件兒”，當中包括來自智利的記錄了政治暴力的民間紡

織品、會製作塗鴉標語的機器人、被塗寫標語的美鈔、巴塞羅

那示威遊行中使用的巨大充氣鵝卵石，還有諷刺政治現狀的手機遊戲等，這些展品都生動地給觀眾呈現了政治事件是如

何推動和激發了豐富多樣的設計和藝術巧思。本次展覽以一種蔑視的態度對藝術和設計的既有定義進行了調侃。展覽當

中的許多物品都是非專業人員製作的，這些群眾智慧的結晶

使得在物料極其匱乏和簡陋的條件下依然可以讓人們對複雜的情況作出非常有效的反饋。

Tips

小貼示

展覽場地：V& A MUSEUM 維多利亞及阿爾伯特博物館展覽時間：26.7.2014 – 1.2.2015

Installation Image, Disobedient Objects, © Victoria and Albert Museum, London

更多信息：w w w.vam.ac.uk

The exhibition will focus on the late 1970s to the present; a time that has brought new technologies, social and political challenges. The

objects are made in a number of ways including: the appropriation of everyday objects for a new subversive purpose, as seen with the Bike Bloc which was produced from discarded bicycles and audio

equipment welded together during the 2009 Reclaim Power protests in Copenhagen; the employment of traditional crafts like hand-

appliquéd protest banners; and hacking cutting-edge technology to create such protest tools as a counter-surveillance drone.

Many of the exhibits will be loaned directly from activist groups

from all over the world, bringing together for the first time many

objects rarely before seen in a museum. Context will be provided

by newspaper cuttings, how-to guides and film content, including

interviews and footage of the objects in action. Each design will be

accompanied by the maker’s statement to explain how and why the object was created.

creative ‘disobedience’ of designers and makers who question the

展覽內容主要集中於1970年至今的各種社會運動，這個時

people can take design into their own hands. This is a brave and

時期。展出的作品是通過各種不同的方式製造的，比如，有

rules. It shows that even with the most limited of resources, ordinary unusual exhibition; these are brave and unusual designers. We are proud to present their work.”

間段正是新科技發展對社會和政治產生巨大影響和挑戰的

的物品是利用日常生活中常見的物品加以改造而使其具有了顛覆性的功能，例如2009年哥本哈根遊行抗議活動中使

用的自行車擴音陣，就是用廢棄的自行車和音響設備焊接而成的；有的是用傳統十字繡工藝製作的大型抗議標語；還有用尖端黑客科技製造的用來幫助抗議人員干擾對方無線信號用的無人機等等。

大部份的展品都是直接從世界各地的抗議組織方借來的，

這也是第一次將這些珍貴的道具在博物館裡面進行展示，展覽配合剪報、畫冊、視頻（採訪及資料片段）來為觀眾介

紹每件物品所處的事件和當時的環境背景，而且每件物品的製造者都會為觀眾解釋物品的製作原因和過程。

V&A博物館館長馬丁·羅斯（Martin Roth）表示： “展覽中展示

了那些‘不守規矩’的設計師和製作者，他們對規則提出了挑戰。我們可以看到，即使在資源極其有限的情況下，普通人

還是可以通過設計來武裝和表達自己。這是一個勇敢的、不

同尋常的展覽；展出的也是勇敢的、不同尋常的設計師們的作品。能夠在這裡展示他們的作品，我感到無比自豪。”

L J Roberts, Gaybashers, Come and Get It, USA, 2011, Courtesy of Blanca Garcia

Martin Roth, Director of the V&A said: “This exhibition celebrates the

Constructing Worlds: Photography and Architecture in the Modern Age

1984

Barbican Art Centre

25 September 2014 -

Playhouse Theatre,

11 January 2015

Northumberland Ave, London,

WC2N 5DE

Until 23 August 2014

Hackney Wicked Art Festival 1-3 AUGUST 2014

Maid in Heaven / En Plein Air in Hell (My Beautiful Dark and Twisted Cheeto Problem) White Cube Masonâ&#x20AC;&#x2122;s Yard, London 15 July - 27 September 2014

Liverpool Biennial 2014 Liverpool

5 July - 26 October 2014

Allen Jones RA

Yoshitomo Nara

Royal Academy of Arts

13 November 2014 – 25 January 2015

Dairy Art Centre, London

3 October - 7 December 2014

Adrian Ghenie: Golems Pace Gallery, London

12 June –

26 July 2014

Art and Life Dulwich Picture Gallery

4 June 2014 - 21 September 2014

Rembrandt: The Late Works Sainsbury Wing, National Gallery

15 October 2014 -18 January 2015

www.bulletpincreative.com

Hynek Martinec Every Minute You Are Closer to Death — 11 September — 11 October 2014

18 Woodstock Street London W1C 2AL +44 (0)20 7495 1969 info@parafin.co.uk

ABOUT ARTIST’S STUDIO

關於藝術家工作室 To give a better overview of the phenomenon of the artist’s studio as a whole, we present a number of

real artist’s studios, from various walks of the art world, and viewed from various perspectives, including individual artist case studies. We have invited contributors to tell studio stories; artists themselves, to

share their statements; and, as ever, we also present first-hand interviews. We have taken care to span as many categories as possible, ranging from painting to installation and sculpture to performance, as well as from established artists to fresh art graduates.

All in all, we hope this issue’s special feature will transport you to the lively world of the artist’s studio and give you a taste of contemporary art and life in the UK.

為了能讓大家更好地體驗和了解英國藝術家工作室的全貌，我們這期專題選擇了多個角度來剖析和展示關於

英國藝術家和他們工作室的各個層面，其中，既有對於藝術區的整體介紹，也有對個別案例的深入分析；既

有專注英國藝術家工作室故事的撰稿人專稿，也有藝術家親自撰寫的自傳文字；既有通過調研得來的各種數

據統計，也有第一手的採訪資料；我們儘量多地選擇了不同創作類型的藝術家，繪畫、裝置、攝影、雕塑、行為，他們當中既有已經功成名就的知名藝術家，也不乏初出茅廬的院校藝術學生。

總而言之，希望通過這一期的專題，能為廣大讀者展示一個鮮活的英國藝術家工作室場景，藉此來體驗英國當代藝術發展的現狀和人文環境。

KEEP WALKING 16:20 下午四點二十的漫步 TEXT AND IMAGE BY 圖文提供 x JOSH WRIGHT 喬希·萊特

Josh wright ©Harri Halpin

TRANSLATED BY 翻譯 x MICHELLE YU 余小悅

16:20 is a project by the artist and photographer Josh Wright. From the age of sixteen and still at school Wright embarked on an ambitious project attempting to photograph Britain’s Artists in their studios. Now at the age of twenty and having started the first year of his BA in Fine Art, Wright has photographed over 90 of Britain’s

most established artists, including 11 Turner Prize Winners. In addition to his role as guest editor for this issue,

ART.ZIP have invited Wright to discuss his continuing fascination with the artists studio, whilst also providing an intimate reflection on his projects creation and continuation.

《16:20》是藝術家兼攝影師喬希·萊特（Josh Wright）的一個藝術項目。儘管萊特現在仍在求學階段，但從16歲他

就已經開始進行一個雄心勃勃的項目－－拍盡英國藝術家的工作室。20歲的他剛開始本科學習的第一年，萊特已經拍攝了90多位最知名的英國藝術家，當中包括11位特納獎得主。本期雜誌我們邀請了萊特作為特約編輯，談談他為甚麼對藝術家工作室如此著迷，並為大家深度剖析這個還在進行的拍攝項目。

As an artist the studio is most likely the foundation of your

creative practice, a retreat from the outside world and most

importantly a place to make mistakes, to experiment before

bringing that work to the public. Every artist treats that space

slightly differently. Over the past 5 years I have visited over 90

artist studios and each one has been different in countless ways. There is no formula to a successful studio, only how it suits the needs of the required artist. It was this unknown that made

me visit the artists whose work I admired and document this Gilbert and George ©Josh Wright

experience through photography.

With a plentiful array of galleries and artist spaces, London has become renowned as a cultural hotspot. However as property

prices rapidly increase artists are having to find ways of adjusting to these upsurges or face moving further out in search of cheap studios and flat rental. Sharing spaces makes the situation more

affordable often resulting in exciting hives of activity but it’s not ideal. Charitable organisations such as Acme are a haven for

the impoverished artist offering residencies in live/work spaces at affordable rates, however sadly space is limited and despite

recent hikes in tuition fees the number of young people choosing to study a degree in Fine Art is on the rise. Artist communities often ignite gentrification resulting in a vicious cycle of rising

property prices. Two artists that are very familiar with this change are the artist duo Gilbert and George.

Gilbert and George bought their house and studio back in 1974,

originally in a very run down and undesirable location. However,

Brick Lane has grown to become one of the liveliest and exciting

places in London; known for being a vibrant art and student area

and thriving marketplace. On a guided tour of their home studio,

對藝術家來說，工作室也許就是進行創作實踐的基地，那是一個讓

which reads: “Please do not piss on the mosque.” Gilbert and

驗、創作，這是所有“未完成”的誕生之地。過去五年裡我拜訪過90

George proudly shows off a sign that they’d found one morning, George constantly sample from the area around them: “we feel

there is something very typical about this part of London where we live, that it is representative of the world in general and the

main thrust of where people are going to.” When I visited, Gilbert

and George were busy as ever preparing for a new show at White Cube Gallery. This monumental series comprised 292 individual

藝術家遠離煩囂、回到自己小世界的空間，他們可以在這裡盡情實

多位藝術家的工作室，每個人使用工作室的方式都各不相同，而這些無數的差異正好反映了藝術家們各自獨特的一面。我相信，沒有最好的工作室，只有最合適的工作室。就是為了這些最合適的工作

室，我一直追尋那些令我敬佩的藝術家，用攝影的方式來記錄這些獨特的體驗。

artworks surveying the frequent violence and absurdity of

聚集著大大小小各式畫廊和藝術空間的倫敦無疑是備受矚目的文化

collected daily over the period of a three-year period. Every

面臨一次又一次的搬遷，找尋租金便宜的工作室，又或者另尋解決方

modern urban life through the repetition of newspaper headlines facet of their studio was ordered and clutter free, a very different approach to an artist I would meet weeks later.

Martin Creed lives minutes away from Gilbert and George,

however has a very different approach to studio life. Creed’s

work has been described as conceptual and minimal and this is certainly emulated within his studio practice, choosing to view

中心，可是隨著房價的不斷攀升、租金的飛速上漲，藝術家們不得不

法。合租工作室或許是比較划算的方式，可是很容易變成大夥密集聚會的場地，因此並不理想。像 Acme這樣的慈善組織確實為許多經

濟並不富裕的藝術家提供了很多租金合理的工作及生活空間，然而，

這些有限的空間最終無法跟上藝術學生數量的增長－－儘管學費高漲不下。諷刺的是，藝術家群體往往就是地區的點金之手，帶動房價上漲，而自己卻落得被迫遷離。這種惡性循環週而復始，最突出的代表便是當代藝術二人組吉爾伯特與喬治（Gilber t and George）。

the studio as more of an office. Creed’s studio is modest and can

1974年吉爾伯特和喬治在東倫敦安家並購置了工作室，那時候的東

Consequently very little of Creeds work is made in his studio,

磚巷（Brick

instead choosing to paint in his home whilst spending a couple of days of his week in the office dealing with operations. Creed

is renowned for producing almost fleeting works that are often

deceptively simple and small in scale. The studio is consequently more of a hub of operations organising and arranging, than a

place for production. Piles of paper lay scattered across the desk

and every possible wall space is consumed by packed shelving or small paintings. This way of working is becoming more frequent

however not through choice. Property prices are dictating artists to either stay put and face confinement in a small space or

move further out of London. Creed, a studio assistant, a guitarist from Franz Ferdinand and myself are crammed into this small

space, making manoeuvring very difficult. Despite this Creed’s

倫敦是一個比較破敗、不受人待見的地區。但是隨著東倫敦的發展，

Lance）及週邊地區成了倫敦最具活力的地方，那裡有

著鮮活的藝術，熱鬧的市集，成為了學生們聚集的潮地，聚攏著各方

的人气。在前往工作室的路上，喬治很得意地指向一個標示，他說這是他和吉爾伯特在一個清早無意中發現的，上面寫著：“ 請勿在清

真寺小便。”他們倆滔滔不絕地跟我聊著這一區的變化：“我們覺得

這裡非常能夠代表倫敦，甚至是世界的縮影，這裡是人群匯聚的中

心。”在我拜訪時，吉爾伯特和喬治一如既往地忙碌著，為白教堂畫廊（Whitechapel

Galler y）的新展覽作準備。這個展覽系列由292

件作品組成，吉爾伯特和喬治花了三年時間每天收集報紙上的新聞頭條，這些剪報都深刻地反映了現代都市生活裡不斷發生的暴力和荒謬事件。他們的工作室裡每個角落都是那麼井井有條，與我幾週之後接觸的藝術家大相徑庭。馬丁·克理德（Mar tin

Creed）的工作室離吉爾伯特和喬治不遠，可

是卻擁有著截然不同的工作室生活。克理德的作品被看作是極簡風格的觀念藝術，工作室實踐上來看他也是徹底地貫徹了這個觀念，

他更多地把工作室看成是一個辦公場地。工作室不大，或者可以這麼來形容：一家印度餐館樓上的一居室。或許就是這個原因，克理德

極少數的作品是在工作室完成的，他反而會選擇在家裡畫畫，然後每週再找些時間到工作室做些行政工作。克理德的作品以稍縱即逝

而著稱，而且作品的呈現通常很簡單，規模也不大。工作室因此成為了一個匯總中心，只進行一些安排和組織工作，並沒有成為克理德

的創作基地。紙張成堆地散落在書桌上，牆壁不是被畫櫃擋著就是

掛滿畫。這種工作方式在藝術圈內變得越來越普遍了，雖然並不是

藝術家刻意要這麼選擇的。租金的高低決定著藝術家的去留，要麼搬到一個小地方去，要麼就搬離倫敦。克理德和他的一個助理，還

有法蘭茲費迪南樂隊的吉他手，我們四個人一併擠在這個小空間，

局促的空間使得採訪增添了難度。克理德的愉悅樂觀和狹小空間形成了強烈的對比，工作室變得像情景劇裡的怪誕布景一樣。克理德是一個天馬行空的人，他的作品透露著他的睿智和魅力；他又像是一個喜劇演員，不期而遇的發生和對話總能激發他的創作。那些對話指的是作品在離開工作室之前或者在藝術家控制之內，人們對作品的討論和評價，無論是藝術家、畫廊主、還是摯友－－這是藝術創作中最普遍和最根本的環節。

也許正是如此，這種在藝術家實踐中的不斷對話讓我著迷。我覺得

這種“不平常”的工作方式很有意思，既有妥協，又充滿爭執。或許

就是這種無休止的爭論與藝術的平等性促進了藝術的發展，作品也

自然而然地劣汰留良。傑克和迪諾斯·查普曼兄弟（Jake and Dinos Chapman）的作品帶著小男孩似的調皮，總是拿別人“ 痛處 ”來開

玩笑。作為親兄弟，從小一起長大的經歷讓他們有著天生的默契，

這樣的經歷讓我很好奇他們是怎麼雙雙成為藝術家的。提姆·諾貝和蘇·韋伯斯特（Tim Noble and Sue Webster）在藝術學院求學

時相識，自此就一起並肩創作，當時的他們覺得被同伴們孤立，所以自然而然地就變得非常依賴對方。與查普曼兄弟不一樣的是，諾貝和韋伯斯特的作品是圍繞他們兩人作為藝術夥伴的主題來創作的。

因此，本質上來說，他們並不是在創作作品，他們的作品就是生活。

Martin Creed ©Josh Wright

only be described as a one bed flat above an Indian restaurant.

Jake and Dinos Chapman ©Josh Wright

jovial character shines through making the room appear like

當我去拜訪他們兩位的時候正值一個很尷尬的階段，他們的關係變

ideas man, injecting his work with charm and wit and that rather

工作室裡到處都是作品，為了迎接即將舉辦的個展《虛無主義的樂觀

a bizarre setting for a sitcom. It is clear to me that Creed is an like a comedian his work is often inspired by encounters and

conversations. This dialogue is often a fundamental aspect of

an artworks creation offering up a work in progress to critique,

得非常緊繃，為了挽救他們的藝術，諾貝搬離了工作室。無論如何，（Nihilistic Optimistic）》，高高的天花板配上雪白的牆，工作室看起來更像是畫廊，而不是一個誕生浪漫想法的地方。

be that from another artist, gallerist or trusted friend before it is

至於老一輩藝術家的走訪，我拜訪了格雷森·派瑞（Grayson Perr y）

control. It is however the constant dialogue involved within an

家與如此樸實無華的工作室。自從20 03年獲得特納獎以後，派瑞儼

leaves the realm of the studio and is no longer under the artists artist duo that has always fascinated me. It strikes me as a weird way of working, full of compromise and dispute. But perhaps

this constant debate with one’s artistic equal allows for some

kind of progressive evaluation that ultimately filters out the good from bad. Jake and Dinos Chapman make work that amuses

的工作室，這也是一個最讓我驚訝的工作室：如此盛名之下的藝術

然成為了英國藝術界的標桿人物，可是他並沒有搬到一個更大的空間去，還是一如既往地與兩、三位助理在溫馨的工作室裡晃悠。他的

工作室有種說不出來的平靜，還有一種彷彿能夠忘記時間的魔力。派瑞眉飛色舞地為我展示著他的速寫本，上面畫滿了掛毯系列作

品《小差別的虛榮（The Vanity of Small Differences）》的草稿。

each other’s sadistic and often juvenile sense of humour. Being

他還表示他正在製作一個關於英國階級品味的紀錄片。但這次拜訪

upbringing, which makes me wonder how artist duos form. Tim

正是關於派瑞的專著。當他看到這本書的時候，他扭頭鑽進自己的

brothers you could say they have a natural bond through their Noble and Sue Webster met at art college and have produced

work together ever since. The pair felt isolated from their peers

at art school and naturally grew very dependent on one another. Unlike Jake and Dinos the artist duo’s work directly treats their

status as an artist couple as the subject matter. In essence they

are not just producing objects, their whole life is part of their art.

最妙的是當派瑞看到我獲得校園藝術獎項的獎品的反應，那份獎品

書堆中，驕傲地拿出他1978年獲得的校園藝術獎項的獎品，那是一

本關於前拉斐爾藝術的書。對於自己的專著成為中學藝術獎項的獎品，派瑞高興得合不攏嘴。派瑞對於藝術教育的熱情投入是眾人皆知的，他為幫助學生竭盡全力，為他們授課、講座，讓聖馬丁的服裝系學生為自己創造的虛擬人物“克萊爾（Claire）”設計衣服。

I visited at a stressful time for the pair, their working relationship

至於我，一個還在念書的藝術雕塑系本科生，我的工作室生活最重

action and Noble moved out in order to save the art. The art

以年紀相仿的我們都在一起創作。與同學和導師的不斷對話交流是

and marriage had grown so intense that they took drastic

nevertheless has flourished and the studio was crammed with work preparing for an upcoming show: Nihilistic Optimistic.

With high ceiling and white walls the space resembles more of a gallery than the romantic idea of the artists studio.

More in keeping with the studios of old, my visit to Grayson

Perry’s studios has to have been one of the most unexpected.

要的便是群體的互動。學校提供的工作室都是三個年級共用的，所非常珍貴且重要的自我發展過程。就這樣，作品在緊密合作的狀態

下被創作出來，激發了各種碰撞和討論，我相信這些只能在藝術學院裡才能發生。

對我來說，藝術家工作室的迷人之處就是個性的體現，每個空間都是那麼的獨一無二，這也比任何博物館或畫廊展覽來得更具代表性。

It was humbling to see such a modest studio for an artist of

such stature. Since his 2003 Turner Prize win Perry has become an iconic figure in British art and it was welcoming to see that he hadn’t expanded into a larger space with 2 or 3 assistants

hovering about. The space had an air of calmness, a place where one could wile away the hours. He was proud to show off his

sketchbook packed full of felt tip sketches for a series of tapestries entitled “The Vanity of Small Differences.” He was in the

process of making for a documentary series about British class

tastes but the highlight of the trip was showing Grayson reaction delved into his bookshelf and proudly pulled out his school

art award, a book on the Pre-Raphaelites that he was awarded back in 1978. It pleased him immensely that he had become

so establishment as to be appropriate for a grammar school art

prize. Perry has become known for his heavy involvement in arts education, trying where possible to support student’s efforts,

frequently giving talks as well as challenging St. Martin’s fashion students annually to design clothes for his cross-dressing alter ego Claire. Still studying a BA in Fine Art Sculpture myself, the

most important aspect of my own studio life is the community. The studios at Camberwell College of Arts are undivided and consequently work by all 3-year groups sits side by side. This

results in a very important evaluation process through constant conversation with peers and tutors. Such an array of artwork

being made in close proximity creates sensational clashes and

rousing debate that can only be found at art school. The intrigue however of the artist’s studio for me is the character, each space

unique and often a far better representation than any museum or gallery show.

Tim Noble and Sue Webster ©Josh Wright

my prize for a school art award: his own monograph. He quickly

FIGURES 一些數字 TEXT BY 撰文 x WU NAN 武楠

TRANSLATED BY 翻譯 x SYNDI HUANG 黃煥欣

According to the survey of the British National Federation

根據英國藝術家工作室供應商聯合會（NFASP, National Federation

artist studio centres across the UK that are managed by 144

144個組織管理著252座藝術家工作室中心，為7250位藝術家提供了

of Artists Studio Providers (NFASP), till 2010, there are 252

organizations, providing 5450 studios for 7250 artists, with a total

area of over 150,000 square meters. 40% of these studio suppliers are charities, and more than half of them are self-financing providers with no government or other forms of funding.

London is a global cultural powerhouse. As an international

cultural hub contains a blend of cultural assets and activities, London has more artist studios than other parts of the UK

altogether. The studios throughout London account for 60% of

the total amount, taking up to nearly 85,000 square meters, and

they are organized by 27 professional developers, providing a total of 72 artist studio centres. More than two third of the artist studio

centres are located in east and southeast London, with more than

of Artsits Studio Providers）的調查顯示，截止2010年，全英國有 5 450 個工作室，總面積超過15萬平方米，這些工作室供應商當中有 40％為慈善機構，超過一半的工作室供應商是自負盈虧，完全沒有政府或者其他形式資助的。

倫敦是一個全球性的文化重地。作為國際樞紐融匯著蘊含全世界文

化資產和活動的文化大城市，整個倫敦地區的藝術家工作室比英國

境內其他地區所有的藝術家工作室加起來都要多，占總數的60％近

8 . 5萬平方米，其中有 27家專業的地產商來整理和提供一共72個藝術家工作室中心。而超過三分之二的藝術家工作室中心位於倫敦的

東區和東南區，有超過 20 0 0位藝術家的工作室含括其中，90％以上是知名藝術家。根據調查研究，80%的工作室是由租賃形式存在的，只有極少數的一本分是藝術家自身擁有永久產權。

2000 artist studios which encompass more than 90% of the well-

全英國有至少4500名藝術家在這些工作室候選名單上，其中倫敦就

by renting, and only a handful of artists have the duty freehold.

炙手可熱。在倫敦的藝術家們也確實帶動了倫敦藝術工作室的發展，

known artists. According to research, 80% of the studios are held

In the UK, there are at least 4500 artists on the waiting list for

studios, 3553 of which are in London. Due to London’s location and artistic resources, artist studios are in great demand. Artists in London indeed lead to the development of the London art studios, from the “single room” style at the beginning to the

later development of “group providing studios”. A bold forecast predicts that in the next decade London will generate at least

430 new artist studios. London’s rental cost tops the rest of the UK, with an average rent of £9.72 per square foot per year. On

占了至少3553名。倫敦的地理位置和藝術資源使這些藝術家工作室他們從一開始的一個“單人房（single room）”發展到後來的“組群

工作室（group providing studios）”。有一個大膽的估計，在未來的十年裡倫敦將會產生至少430 個新的藝術家工作室。基於倫敦的

租房費用是全英國最貴的，平均租金為9.72英鎊每年每平方英尺。平均下來有11%的工作室條件處於“差”的狀態，只有29％的工作室有

中央供暖，有很多藝術家以合租形式使用工作室，調查顯示每10 個工作室裡有12位藝術家。

其實倫敦有相當多的地區都為藝術家開發了新的工作室，但大部分的藝術家負擔不起高額的租金。圖表1是倫敦的新工作室的地區分

CHART1. REGIONAL DISTRIBUTION AND QUANTITY OF NEW STUDIOS IN LONDON

9 10

3 1

8 4

London Borough 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

New Studios Distribution

Greenwich

Southwark

Lewisham Lambeth

Wandsworth Merton Sutton

Hounslow Ealing

Hammersmith & Fulham Kensington & Chelsea Camden

Haringey Islington Hackney

Tower Hamlets Newham

5 7 1 2 1 1 4 3 2 1 2 3

19 13 1

CHART2. SPACE PROVIDED BY ART RELATED ORGANIZATIONS FOR DIFFERENT TYPES OF ART Activity

Percentage

Activity

Percentage

Art in public places

74%

Live art

56%

Artists photography

93%

Painting

100%

Artists film and video

Multi media

85%

Bespoke furniture

Print making

19%

Ceramics

22%

Other

89%

Jewellery & precious metals

44%

Traditional crafts

30%

Installation

89%

Textiles

74%

Glassmaking

67%

Sculpture

41%

Digital

82%

26%

30%

CHART3. MAXIMUM AND MINIMUM RENTS FOR LONDON ARTIST STUDIOS IN EACH AREA 20

Camden

Ealing

Greenwich

Hackney

Hammersmith and Fulham

Haringey

Islington

Kensington and Chelsea Min

London Borough

Rent per sqft per year (£) Min

Avg

Max

Lambeth

Lewisham

Avg

Merton

Newham

Southwark

Sutton

Tower Hamlets

London

Max

London Borough

Rent per sqft per year (£) Min

Avg

Max

Camden

11.3

Lambeth

9.36

11.5

Greenwich

6.5

Merton

8.9

9.87

10.21

Ealing

Hackney

Hammersmith and Fulham Haringey Islington

Kensington and Chelsea

8.68 4.5

7.15

9.58 7.75

9.85

10.4 7.78 8.28

9.58 8.1

10.39

18.86 13.5 8.75

9.58

11.42 17.76

Lewisham Newham

Southwark Sutton

Tower Hamlets London

1.89 6

4.3 7

1.4 1.4

7.49 6

6.84 7

6.58 7.54

10.56 6

9.25 7

10.9

18.86

average, 11% of the studio conditions are in a “poor” state. Only

Each day artists from around the world come to establish their

artists share the studios, and the survey shows every 12 artists

artists’ choices for studios are different. Fine art and installation

29% of the studios are equipped with central heating. Many share 10 studios.

In fact, there are quite some areas in London having been

developed into new artist studios, but most artists are not able

art practices in London. Based on their own creative styles, the artists choose east London with strong artistic atmosphere, while digital and film artists prefer the lively and modern London city centre.

to afford the high rents. Chart 1 shows the regional distribution

布和數量，從圖表中可以看出倫敦東區是藝術家比較熱衷的區域。東

more sought after area by artists. East London has always been

圍給了東倫敦帶來越來越多的經濟發展，同時藝術家和藝術家工作

and quantity of new studios in London, where east London is the the centre of artist studio development. Low rents and rich artistic atmosphere bring more and more economic development to the area, while artists and artist studios are growing at the same time. Chart 2, information collected by England Arts Committee in

2004, shows the exact statistics of space provided by art related organizations for different types of art.

Chart 3 illustrates the maximum and minimum rents for London artist studios in each area.

The average rent for artist studio in London is £9.72 per square

foot per year, and that for those across the UK is £6.43 per square

foot per year, which is for instance equivalent to rent a 30-squaremeter studio for around £250 (2,600 RMB) per month. Although

the rental price differs hugely from different areas and conditions,

倫敦一直是藝術家工作室發展的中心，低廉的租金和濃郁的藝術氛室集群也日益壯大。

圖表2確切地顯示出在2004年英格蘭藝術委員統計出各類相關組織提供給各藝術門類的空間統計。

圖3顯示了倫敦藝術家工作室每個地區租金的最大值和最小值。在倫敦的藝術家工作室平均租金為9.72英鎊每年每平方英尺，全英

國藝術家工作室的平均租金為 6 . 4 3 英鎊每年每平方英尺，舉例來說，就相當於一間30平米的工作室每個月的租金在2 50英鎊（26 0 0

人民幣）左右。雖然不同區域不同條件的工作室租金價格差別很大，但平均值 9 .7 2英鎊可以視為倫敦藝術家工作室的費用平均基準比

2004年的7.54英鎊上漲了近30％，有些房東和房屋持有者也會提高

藝術家的租金費用，因為大多數的藝術家都可以向英國政府申請獲得減稅的福利。

the average rate of £ 9.72 is regarded as the benchmark for

每天都有來自世界各地的藝術家和倫敦當地的藝術家在這樣的藝術

nearly 30%. Some landlords and house owners also increase the

風格，他們在藝術工作室的選擇上也各有不同。純繪畫藝術家或者

London artist studios, compared to the cost of £7.54 in 2004, up rent, because most artists can apply for tax cut welfare from the British government.

聖地和藝術殿堂紮根，生長和成熟蔓延。基於藝術家們各自的創作

裝置藝術家選擇在藝術氛圍濃厚的倫敦東區，而數字藝術家或電影後期制作的藝術家們可能更傾向於熱鬧而現代的倫敦中心城區。

11% £9.72 4500 80%

工作室條件為“差”

- 倫敦藝術家工作室每年每平方英尺價格

- 至少這麼多人在申請列表上等候

的藝術家租用工作室

TRANSLATED BY 翻譯 x SYNDI HUANG 黃煥欣

TEXT BY 撰文 x HARRY LIU 劉競晨

HACKNEY STUDY 哈克尼藝術區

Hackney is an area with a collection of artists, creatives and

這個專題部分是要來為大家展示英國藝術家工作室，由於英國藝術

becomes a vibrant and hippest location in London. We have

了一個個區域型的藝術家工作室群落，哈克尼地區就是這樣一個彙

studios. Because of the community they formed, Hackney

particularly paid visits to a number of artists who live and work

there, to present the art community lifestyles and studios through their narrations and interviews.

家工作室往往是藝術家集群或者是自發形成的聚落，由此也就形成集了眾多藝術家及工作室的區域，我們特別走訪了在這裡工作和生

活的幾位藝術家，通過他們的自述和訪談展示這裡藝術家群體的生活狀態和他們工作室的面貌。

In order to leave a macro impression in a whole for readers, we

為了能從宏觀上給大家一個整體的感受，我們以哈克尼區域作為一

Hackney is a municipality under the jurisdiction of Greater

倫敦的哈克尼地區是在大倫敦管轄之下的一個自治區，位於倫敦市

kilometres away from the city centre. Although it seems not far

一次來到哈克尼地區的人都會驚嘆這裡與“倫敦”的巨大不同。哈克

take Hackney as an example from a general point of view.

London, located in the northeast of London, seven or eight

away, a lot of people who first come to Hackney are amazed

to find it so different from “London”. Hackney is an area with a

long history. It is said the name of Hackney can be tracked back

to 1000 years ago, the Middle Age, and it is from 16th century it

began to flourish. Until today, there remain over 1,300 protected historic buildings in the entire region, many of which are

historical heritage from the Tudor, Georgian and Victorian eras.

St Augustine’s Tower, built in the 13th century in the downtown Hackney, is the oldest building in the area.

The Hackney area we are talking about now was officially

established in 1965, covering nearly 20 square kilometres of the

northeast London. For a very long period of time, this area received no good reputation, since after World War II immigrants from

different nations flooded to the area. Consequently, it earned the

name synonymous with crime and poverty. BBC once reported here gathered the poorest people in Britain, nearly half of the children

living in low-income families, and as its crime rate remained high, some places in Hackney were called “land of murder”.

The good news is, since the new millennium with the joint efforts of local communities and the Metropolitan Police Department, the safety in the area has witnessed great improvement, with the fastest crime rate drop in London. At the same time, the multiracial mix has been being deepened in Hackney. The

2011 survey shows only 4% of the local population are white British, while 85% of the new population are of other ethnic groups. Because of its cultural diversity and tolerance, for

more than 10 years, more and more young people engaged in creative industries have been gathering here. Meanwhile,

it is also dispensable from the great support and investment

for the cultural and creative industries from the City of London government. The preferential policies and support provide for the young people the opportunity to exercise their talents in

this arena. This on the one hand sorts out the problem of idle

buildings and industrial factories in the northeast area, and on

個樣本，從整體上來介紹一下這個區域。

東北部，距離中心城區7到8公里，雖然看上去距離不算遠，但很多第

尼地區是一個歷史極其悠久的地方，據說“哈克尼”這個名字可以追溯到1000年前的中世紀，而且這裡從16世紀中期就開始蓬勃發展。

直到今天，整個區域內還有超過1300座受保護的歷史性建築，很多都是都鐸、喬治和維多利亞時代的歷史遺產，其中坐落於哈克尼市中

心的聖奧古斯丁塔（St Augustine’s Tower）興建於13世紀，是這個地區最古老的建築。

the other hand stimulates the economic transformation and

哈克尼的一些地方稱作“謀殺之地”。

goals at one stroke.

值得欣慰的是，從新千年至今，在當地社區和倫敦警察署的共同努力

Today’s Hackney though cannot strictly be defined as an arts

與此同時，哈克尼地區多人種混雜的程度更加深化，2011年的調查顯

personnel restructuring in Hackney, which is to achieve various

district, as the scope of its coverage is indeed very large, this community brings together over 600 art spaces and studios available for exhibitions (each place accommodates almost

thirty to forty designers and artists), and here locate 170 galleries and museums with an abundance of exhibitions, lectures and a

variety of activities. In accordance with this standard, Hackney is

one of the most intensive districts in the world with regard to the distribution of artists and arts organizations per square metre.

現在我們所說的哈克尼是在1965年正式建區，涵蓋了倫敦東北將近 20 平方公里的區域，在很長一段時間里，這個區域的名聲都不怎麼

樣，由於二戰後移民和各色人種的不斷湧入，這裡成為了犯罪和貧窮的同義詞。BBC曾經報導這裡聚集了全英國最貧窮的人群，近一半的

兒童生活在低收入家庭，而且此地的犯罪率居高不下，坊間更是把

下，這裡的治安有了長足的進步，成為了倫敦犯罪率下降最快的地區。示，此地英國白人僅佔當地人口的四成，85％的新增人口為其他族裔。

也正因為這裡的文化多樣性和包容性，10多年來越來越多的從事創意產業相關的年輕人都開始聚集於此，當然這也離不開倫敦市政府對於

文化創意產業的大力支持和投入，對創意產業的政策傾斜和扶持讓很多年輕人能有機會在這個舞臺上施展拳腳和展露才華，一方面解決了東北部閒置建築和老工業廠房的使用問題，另一方面也極大地拉動了哈克尼地區的經濟產業轉型和人員結構調整，可以說是一舉多得。

如今的哈克尼雖然沒法從嚴格意義上說是一個藝術區，因為其覆蓋的

範圍的確非常大，在這片地域里彙集了超過600座可供展覽展示的藝術

空間及工作室（每處工作室區域差不多都聚集有三、四十位設計師或者

是藝術家），而且這裡坐落了170多家畫廊和博物館，各種的展覽和講座以及活動簡直是目不暇接，按照這個標準來看，哈克尼地區又可以稱得上是世界上每平方米分佈藝術家和藝術機構最為密集的藝術區之一。

TEXT AND IMAGE BY 圖文提供 x SARAH PETTITT 莎拉·佩蒂特

TRANSLATED BY 翻譯 x YU CHANG 于暢

THOUGHTS ON THE STUDIO

工作室隨想

My father has always had many sheds but in particular was

我的父親一直擁有許多棚屋，但一提及，卻是很丟臉的一件事。這

mismatched planks of wood and built specifically to store other

一天，他忽然買了艘船回來，而我也清楚地記得這艘船的到來，在父

a great source of shame. It was constructed entirely out of

planks of wood. Then one day he bought a boat and I vividly

remember its arrival, as plank after plank was carried into the

garden and the loving process of its reconstruction began. He has always refers to his boats as his ‘shed on the mud’ and as

much as anything he uses it as place to think. I often consider

that haphazard shed, which of course I now love, in relation to

the studio. My studio is a small unit in a larger building of artists’ studios but if I have to imagine my studio’s outside when I am

些棚屋完全是由不匹配的木板搭建而成，用途也是存放其他木板。親將其一塊木板一塊木板地逐漸擡進花園之後，精心的改造過程就

開始了。父親一直稱呼他的船為“泥上棚屋”，這是他獨自躲起來想事情的小基地。我那時候想，那座亂糟糟的棚屋就是所謂的工作室

吧。現在回想起來，那真是非常溫馨可愛的地方。我現在的工作室在

一座大廈裡，算是藝術家工作室大廈裡的一個小單元吧。如果讓處在室內的我來想像這個工作室從外面看起來的樣子，它大抵也是這麼一個由木板搭建而成的小屋。我想，思想的建構大概也像木板一樣層層搭建的，順序可以變，但什麼樣的木板才是至關重要的。

how, for the last years of his life, he sought to find the ideal

spatial arrangement for his work and how he would replace sold works with plaster casts to prevent the balance from changing. In Cézanne’s studio in Provence near his beloved Mont Sainte-

Victoire, his coat still hangs on the wall as if waiting for his return and his objects litter the space - the raw material of so many

iconic paintings both inside the studio and in the surrounding

landscape. These spaces return to my studio with me and I work with the knowledge of the past seeping into the present.

The local studios I visit are those of my friends, to discuss our

work and to support one another in our creative endeavors, for

as well as a precious sanctuary, the studio can be home to failure and guilt - like an albatross around the neck. Having a studio

is the utmost luxury but also the site of worry and frustration.

Similarly I welcome anyone who wants to come and take a look - others’ reaction to my work is always rewarding and fuels new ideas, thoughts and conversation. Recently my friend Robert

Rivers has joined me in my studio and so now the atmosphere

changes depending on whether we are both there or not. It’s a

great help to occasionally have another pair of eyes or particularly another pair of hands and at lunch time we discuss our work.

I try to keep the studio tidy and to designate certain sections to processes, for example I work with a hot plate and wax in one

許多藝術家已經建造出了他們夢想的工作室，很多工作室甚至也被保存至今，其中包括雷頓男爵（Lord Leighton）那所奢華的住宅式工

作室，不管是土耳其浴室還是園林都被一一復原，那景致美得讓人歎為觀止；而弗朗西斯·培根（Francis Bacon）的工作室重建更是連工作室裡的塵土都原封不動地從倫敦挪到都柏林。前往這樣的工作

室朝聖往往是有益的。康斯坦丁·布朗庫西（Constantin Brancusi）的巴黎工作室重建記錄了他晚年時如何為自己的作品進行最好的陳

列，他甚至用石膏模型來填補那些已經出售的作品的空缺來避免打破空間的平衡。塞尚（Cézanne）在普羅旺斯的工作室坐落於他鐘愛

的聖維克多山附近，工作室墻上仍舊掛著他的大衣，他的其他物品

inside, perhaps it is made of planks of wood. Like the building

blocks of my thinking, the order can be changed around but it is the substance of the material that remains vital.

Many artists have built their dream studio and lots have been preserved, from Lord Leighton’s glamorous studio-house

complete with its reconstructed Turkish bath and elegant

gardens designed to impress to Francis Bacon’s studio which, including the dust was transplanted from its London setting to Dublin. Making the pilgrimage to such studios is always

rewarding. The reconstruction of Brancusi’s studio in Paris records

也散落在工作室各處，仿佛在等待主人的歸來。其用於製作大量代

表作的原材料遍布工作室內外。這些藝術家和工作室都深深影響著我。

除了大師的工作室，我也愛拜訪朋友的工作空間，一來可以討論作

品，二來也能互相鼓勵，進行各種大膽的嘗試。工作室不僅僅是藝術家的避風港，其實也是接納失敗的地方。擁有自己的工作室其實是奢

侈的，但同時也是充滿憂慮和挫敗的地方。我歡迎所有想來參觀的人，因為他人對我作品的反饋往往能激發我新的想法。最近我的朋

友羅伯特·理弗斯（Robert Rivers）也加入到我的工作室來，因此工作室氛圍取決於我們兩人是否都在。有別人在場一起工作總是很不一樣的，多雙手幫忙也總是很好的，午餐的時候還能一起討論作品。

Stick Out Suede, wood, 7cm x 5 cm x 17 cm, 2013

area, I do woodwork in another and I have a separate section

我努力使工作室保持整潔，並於特定角落進行特定的工作，例如，我

When I say tidy, I try to keep things ship-shape but usually I

還有一個角落是我繪圖和縫紉的地方，因此這個特定的角落就需要

for drawing and sewing which is supposed to remain clean.

get carried away and have everything out, I find it is the best

way to continually surprise myself is jumping from one process to another - generally causing havoc. I usually know where

everything is at any one time with the exception of the hammer, so I now have three. Part of the reason it can get so cluttered is

also because I like to surround myself with my work, like a living sketchbook of ideas, pieces of texture, surface and colour in

the form of unfinished smaller works pile up in boxes and trays around me on flat surfaces. I only put things away once I have finished thinking with them but more often than not they get swallowed into new works.

Occasionally I work from home, especially on larger sewing projects or if I am making a series of drawings, however,

increasingly I find myself wanting to make the work in just one

會在這片區域使用熱板和石蠟，而另一邊則是進行木工活的區域，盡可能地保持整潔。我認為的整潔應該是井井有條的，但其實我很容易失控，一不小心就把所有東西都翻了出來。而我最能讓自己抓狂的其實就是從一個程序步驟跳到另一個，這經常把工作室容易弄

得一團糟。我一般都能記住工具放在哪裡，除了鐵錘，我總是找不到，所以現在我有三把鐵錘。工作室之所以會變得如此雜亂的部分

原因也在於我喜歡自己被作品包圍的感覺，散落各處的各種布料和

作品小樣就像立體草稿本一樣。我只會收拾那些已經完成的作品，不過很多時候它們又會被新的作品而淹沒。

我偶爾也會在家裡創作，特別是一些大型的縫紉作品，又或者是系

列繪畫，然而，我越來越發現自己更喜歡在一個固定的地方工作。工作室更富有生氣，作品本身能夠成為一種獨特的語言，因此互相呼應。我並沒有固定的實質性計劃，因此大部分作品都擱置在工作室

裡，它們都是我一步一步通過親身試驗摸索而做出來的，並不是憑空想像的。

place. The studio contains an energy and the works feed off one another, developing a language of their own which bleeds from one piece to the next. I do not have a solid conceptual plan and because of this the studio is where the work resides more than anywhere, it is born from a practice of making not thinking, an intimate and gestural practice where skill is played with and investigated but not mastered.

The work is often exhibited as it has been hung in the studio,

not always but sometimes - a work will be placed at a strange height, often to keep it out of harm’s way or because there

happened to be a nail already there, but this becomes part of it, changing my perception of it by the way it activates a space. In

the Twentieth Century a special relationship between the work itself and the studio has developed and it is something which

has greatly informed the display of contemporary art whether it

is the ‘working tables’ of Eva Hesse or Gabriel Orozco which allow left overs or unfinished works to creep into the gallery space or generally a less precious attitude towards exhibiting.

This slippage between the studio and the gallery imbues the

work with the ghost of the studio, it remains present in the object both physically in its materiality as well as in its placement. This is certainly true for my practice. The studio is a place where the work has its own life-force, a certain control; retrieving his fag-

end from under a table in Giacometti’s studio Jean Genet recalls finding the most beautiful sculpture which had been hidden in the dust, questioning him why, Giacometti replied, ‘If it is truly

我的作品經常以懸掛的方式陳列在工作室當中，有時候你會發現一個作品被擱置在一個很奇怪的高度，那通常是為了避免損壞他們，

又或者恰巧那個位置有一枚釘子。不管怎麽樣，這些都成為作品的一部分，影響了我的同時也改變了原來的空間。在20世紀，作品本身

和工作室之間形成了一種特殊的關系，這在很大程度上也影響了當

代藝術的展示方式，無論是伊娃·海瑟（Eva Hesse）的“工作桌”，還是加布理埃爾·奧羅斯科（Gabriel 並與其作品進行同場展示。

Orozco）的半成品，這些都一

作品儘管從工作室移到了畫廊，但其實工作室的靈魂已經融入到作

品當中，影響著作品的最終呈現，不管是外觀還是呈現方式。這對我來說是無可置疑的。在工作室裡的作品都有一種生命力，一股自我控制的能量。讓·熱內（Jean Genet）在收拾阿爾伯托·賈科梅蒂 (Alber to

Giacomet ti)的工作室時驚訝地發現最美的雕塑竟藏在

桌底並佈滿灰塵，問及原因，賈科梅蒂說：“ 如果這作品足夠好，就算我藏起來也必定會被發現的。”

Speechless, Cotton, plaster, sand, concrete, nail, 2012

strong, it will show itself, even if I hide it.’

TEXT BY 撰文 x HARRY LIU 劉競晨

TRANSLATED BY 翻譯 x SYNDI HUANG 黃煥欣

IMAGE COURTESY BY 圖片提供 x GARY WOODLEY 加裡·伍德裡

A COMPLETE WORKSHOP AND TEST SPACE

完備的車間實驗室

Gary Woodley, a native Londoner, graduated from London’s

Chelsea College of Arts in the 70s, and began teaching at Slade School of Fine Art in the late 80s. His works have been widely

exhibited all over the world in famous museums and galleries like Tate Britain.

Before the interview, we already heard Woodley had an “incredible” studio. But it is until after the visit to his studio, we found it indeed deserve the name. Woodley’s studio is located in a rugged

industrial building which was built after World War II. The original doors, elevator and fence exude a unique charm of that time.

Woodley’s studio is very large, around 300 square meters. It can be described as “luxury” to own a studio of such size in zone 1

area of London. The studio displays a variety of wood working

加裡·伍德裡是土生土長的倫敦人，70 年代畢業於倫敦切爾西藝術

a dreamland for all boys. We were holding our breath while

Ar t），他的作品在全世界範圍內都被廣泛的展出過，其中不乏像泰

equipment and tools, which completely blow us away. What

checking around. Woodley is quite an interesting person, always being very kind with a stern look. He did not talk much, but

學院，80年代末開始任教于斯萊德藝術學校（Slade School of Fine 特英國館這樣重量級的美術館和優秀畫廊。

answered all the questions straight to the point.

我們來採訪之前已經知道江湖盛傳伍德裡有一個“不可思議”的工作

Mentioning about Hackney, Woodley said the area had great

的工作室是在一座二戰後興建的粗獷的工業風格的建築當中，原建

changes since his settlement 30 years ago, but always been an inspiring place. He told us the history of Hackney as the centre

室，直到我們拜訪他的時候才真正感覺到這裡並非浪得虛名。伍德裡築特有的大門、電梯、柵欄散發著那個年代殘留的特有的韻味。

of woodwork and furniture in London, as well as its current

伍德裡的工作室很大，大約有300平米，在倫敦北一區邊上擁有這樣

Woodley showed that he never met any safety problem, the

工設備和工具，看得我們一行人目瞪口呆，這簡直就是每個男孩子

development. When talking about the safety in Hackney, neighbourhood was always very friendly.

尺寸的工作室簡直可以用“奢華”來形容，工作室里擺放了各種的木

的夢想之地！我們一邊感嘆一邊東看看西摸摸，伍德裡挺有意思，一

With regard to his own creativity, Woodley finds himself with

直都是很和藹，一幅不苟言笑的樣子，他雖然話不多，但是有問必答

lecturer at Slade School of Fine Art to cope with students for

已經 24 年了，這裡變化非常大，但從創作和工作的角度來說，這裡

many different roles. For instance, on the one hand, he is a

guiding their learning and creation. On the other hand, he also works with a lot of engineers and architects to solve various architectural and construction issues. The more important

aspect is his own creativity. His works are generally in very large scales, such as an entire building. There are also quite some his more concerned works. Some indoor works exhibited in

但絕不廢話。談及關於哈克尼地區的時候，他說：“我在這個工作室

一直都是一個很能激發工作鬥志的地方。”他給我們講述了這裡作為倫敦木工和家具中心的歷史，以及現在的發展情況，當我們談到哈克尼地區的治安狀況的時候，伍德裡說：“這二十多年來我都沒發

現這裡有什麼不安全，周圍的人都很友善，也從來沒出現過什麼治安問題。”

galleries are also very interesting. Gary is very obsessed with

關於自己的創作，伍德裡覺得他有很多的角色，比如他需要在斯萊

the form of mathematics, basic structures and forms can be

創作，另一方面他也和很多工程師建築師一起合作，解決很多建築

mathematics, and applies mathematics to his creation. Through found in his works.

ART.ZIP: How long would you normally spend at your

studio? What would you do in your space apart from making your works?

GW: I am normally in my studio most days except for my usual 2 days teaching. I have set up my studio for also earning a regular

income as a fabrication service to artists, designers and architects, specializing in difficult forms and materials. I also design and make furniture.

德擔任講師的職務，要和自己的學生打交道，要指導他們的學習和或施工方面的問題，當然另外更重要的一點是他自己的創作，一般

來說他的作品都很大，比如整個建築物，也有很多他更在意的作品，

在一些畫廊展出的室內空間作品也是非常有趣的。他對數學非常的著迷，他將數學融入到他的創作中來，通過數學表達形成的簡單結構或者形式都能在他的作品中找到呈現。

ART.ZIP: How would you describe your studio, could you use a word or a sentence to conclude the relationship between you and the studio?

GW: It’s very much a complete workshop and test space. ART.ZIP: How would you consider your studio space? Private or public?

GW: The studio is a place to concentrate on making. Clients

would visit only to discuss possibilities, check developments

and view the finished product. It is open to occasional students

ART.ZIP: 一般來說，你每天會在工作室裡工作多久呢？除了工作以外，還會做些什麼呢？

GW: 我每週會有兩天在學校授課，此外基本上都是在工作室裡工作。工作室里除了做自己的作品以外就是幫藝術家、設計師和建築師來解決製造工藝上的問題，特別是處理複雜的造型和材料上的難題，這些工作讓我能有一個比較穩定的收入來源。同時，我自己也設計和製作家具。

ART.ZIP: 你覺得你的工作室是怎樣的一個地方呢，可不可以用一句話或一個詞來概括一下你和工作室之間的關係呢？

who are always curious to see a working space in operation.

GW: 我的工作室是一個車間，是一個實驗的空間。

ART.ZIP: Have you been to other artists’ studios? Are there any

A R T. ZIP: 你怎麼看待工作室呢，是一個私人空間呢，還是一個公

GW: I’ve noticed that most artists try to keep their studios as

GW: 工作室顧名思義，是一個專注于“製作”的空間。客戶在探討製

influence what can be made. It often amazes me how few tools

我有很多學生對工作車間和機床的使用感到好奇，所以偶爾也會對

interesting places or stories?

clear as possible, avoiding too much equipment which might

most artists have, preferring factories to make the more involved component parts.

ART.ZIP: Are you satisfied with your current studio? Do you have any particular preference on location?

GW: I’ve been in this building since 1984. It’s great here, it has

always been an interesting area, but it has changed a lot in that time. 14 years ago we moved to the ground floor to a bigger space with better loading access.

ART.ZIP: Any interesting items at your studio?

共空間？

作可能性、追蹤進度和最後驗收作品的時候才會來到我的工作室。他們開放一下。

ART.ZIP: 有沒有接觸過別的藝術家的工作室呢？有什麼有意思的地方？

GW: 我注意到很多藝術家都想要儘量保持他們工作室的整潔，儘量

避免太多的設備來擾亂他們的創作。當我看到藝術家們是用如此之少的工具來工作的時候，我覺得非常神奇，他們比較傾向將複雜的部件交給工廠來製作。

ART.ZIP: 你對現在的工作室空間是否滿意？你對工作室地點有沒有什麼特別的要求？

GW: The studio is absolutely full of tools and machines, fixings

GW: 從1984年開始，我就在這裡工作了，這裡很棒，而且一直以來都

forgotten about which might rekindle an idea.

年前，我們搬到了一層，這裡空間更大而且有更方便的裝卸貨物的

and offcuts of curious materials. I regularly discover things I had

ART.ZIP: Any coming exhibitions or plans? GW: This summer I have a group exhibition with 3 Japanese and 3 British artists at Laure Genillard Gallery. There are also a few good furniture projects to get started, one using bamboo sheet.

Tips

小貼示

S chema – S u ki ma La ure G e n illa rd G a ll er y, 26 July – 13 S eptember 2014 www. l gl o ndo n.o rg

是一個很有意思的地方，當然這30年來這裡也有了很大的變化。14 通道。

ART.ZIP: 在你工作室裡有沒有什麼非常有趣的物件兒？ GW: 整個工作室就是一個充滿了工具和機器的車間，有很多組裝好的作品也有好多神奇材質的邊角料。我經常能發現好多被我遺忘了的東西，它們經常能激發我的想法和靈感。

ART.ZIP: 在不遠的將來有什麼新的計劃或者展覽？ GW: 這個夏天我會參加一個群展，由三位日本藝術家和三位英國藝術家

組成，在羅蕾吉安那萊德畫廊（Laure Genillard Gallery）展出。我也正在進行幾個很不錯的傢具項目，其中有一個是用竹子進行創作的。

Model for a pavilion of projection 2011 (birch plywood)

Slade reception furniture , 2012 (bamboo)

REWARDING AND FUN COMMUNITY TO LIVE

有益並有趣的社區生活 TEXT BY 撰文 x HARRY LIU 劉競晨

TRANSLATED BY 翻譯 x SYNDI HUANG 黃煥欣

IMAGE COURTESY BY 圖片提供 x PATRICK FURNESS 帕特里克·弗內斯

Tips

小貼示

patrick furne ss.com

Patrick Furness and Martina Poppe are sharing an artist studio located in Hackney which was converted from a warehouse. The studio was split into two, one as Patrick’s experimental playground and the other as Martina’s painting studio.

When we went there, the two were chatting with their friends

downstairs in the sunshine. They greeted us warmly and led us

to their studio. The space is about 20 square meters and is filled with Furness’s experimental materials and all sorts of bicycles and accessories.

Furness is a typical British boy, bright, wearing simple shirt,

shorts, canvas shoes, and a pair of pop art-style sunglasses.

Having lived in London for 15 years, Furness spent the recent four years in Hackney. His apartment is quite close to the

studio. After graduation, he shared a studio with Poppe for

further art practice, and he supplements his freelance artist income by dog-walking and some educational work with

young children. Regarding his life in Hackney, Furness said, “It

is quite difficult for an artist to survive in London since the rent is too expensive. However, it is quite good to live in Hackney which is a diversified and vibrant community. I can visit my

friends by walking distance and have all kinds of parties. Great changes have taken place in this area in the recent ten years.”

He and his girl friend enjoyed their life here very much and so did their two cats.

帕特里克·弗內斯(Patrick Furness)和馬丁娜·波佩(Mar tina Poppe)

兩人合租一個工作室，是在哈克尼區裡面的一個倉庫改裝的藝術家

工作室。他們倆把工作室一分為二，外面是帕特里克的工作區域，裡面是馬丁娜的畫室。

我們到訪的時候，他們倆正在樓下和朋友聊天曬太陽，看到我們過來

他們特別熱情地把我們帶到了他們的工作室。在20平米左右的空間里放滿了弗內斯的“實驗”材料，還堆滿了各種的自行車和零配件。

弗內斯是一個典型的英國大男孩形象，襯衣短褲加軍跑（中國綠色軍用布鞋）配波譜風格的太陽鏡，典型的“英范兒”裝扮，而且說到要進行採訪，他還紳士地一指波佩說： “女士優先。”

弗內斯在倫敦生活了1 5 年，最近四年都是在哈克尼地區度過的，他

的公寓距離工作室很近。在學校畢業以後，他就和波佩一起租了工作室進行藝術創作，除此之外，弗內斯還會幫人遛狗和做一些社區的青年教育工作來增加日常收入。提到在哈克尼的生活，他表示，作為

一個藝術家在倫敦生存是很困難的，房租太貴了，不過在哈克尼這裡真的很好，這是一個非常好的社區，非常多樣化，生活也很便利，走路就可以去拜訪朋友和參加各種派對，這10 年來，這個地區的變化非常的大。

When it comes to his art practice, Furness found it difficult to

define his work accurately as it combines performance art and installation art.

“My artworks use quite diverse mediums, ranging from sound,

video, performance and interactive electronics. They all are quite playful, sometimes surreal with influences from science fiction. I

like the latest experiments I have been doing with goo, it’s a very tactile material and always generates excitement and childlike playfulness in people.”

關於自己的藝術創作，他覺得很難給自己的作品一個準確的定義，他的作品混雜了行為藝術和裝置藝術；他將影像聲音和機械裝置結合起來製作各種“ 科幻效果”的藝術作品，他覺得他做的作品都很

有趣，很好玩，能喚起人們對童年時光的回憶，而且作品中蘊含的幽默是非常重要的，幽默能吸引人們的注意力和更好的與觀眾溝通。

他最近正在實驗的一種新材料很有意思，是一種像橡皮膠似的的材料，很柔軟，有一點粘性，但卻能製造出匪夷所思的神奇效果。

“這是一種非常有質感的材料，總是會讓人覺得興奮異常，而且總是給人以像孩子般玩耍的感覺。”弗內斯一邊得意地說，一邊伸手抓起來一坨給我們演示。看到這麼有喜感的材質，大家都上去玩了起來，看到他最近使用這種材質在公共畫廊空間進行的行為藝術表演，真

的非常有意思，可以說是一個很嚴肅地在做非常不嚴肅作品的藝術家。近兩年，弗內斯的作品在越來越多的藝術空間進行展示，也受到了越來越多藝術機構的重視。

HERMIT IN THE CITY

INTERVIEW WITH MICHAEL LANDY

大隱於市

專訪藝術家邁克爾·蘭迪 TEXT BY 撰文 x ANNA MCNAY 安娜·麥克內 TRANSLATED BY 翻譯 x BOWEN LI 李博文

IMAGE COURTESY OF 圖片提供 x THE ARTIST AND THOMAS DANE GALLERY, LONDON 邁克爾·蘭迪及托馬斯·戴恩倫敦畫廊

Michael Landy (born 1963, London) studied at Goldsmiths and

英國 Y B A 當代藝術運動的重要成員邁克爾 · 蘭迪（ M i c h a e l

who took part in the first great artist-led warehouse exhibition,

在198 8 年與達明安·赫斯特（Damien Hir s t）等人一同參加了有里

is one of the so-called YBA (Young British Artists) generation,

Freeze, alongside Damien Hirst, in 1988. He really made his name, however, in February 2001, when he systematically catalogued and destroyed all 7,227 of his personal belongings during a

two-week long “performance” in a disused department store on Oxford Street, called Break Down. More recently, Acts of

Kindness on the London Underground documented, as its titles suggests, kindly interactions between commuters and users of

the transport system. Nowadays, Landy is, as he puts it, albeit very tongue in cheek, “all grown up”, having been elected not only as

L andy）19 6 3 年生於倫敦，曾就讀於倫敦大學金史密斯學院。他也程碑意義的展覽《冰凍（F r e e z e）》。然而，他最為人稱道的作品

是他在 20 01年2月完成的行為作品《崩潰（Break Down）》：在兩週時間內，蘭迪在牛津街一家空置的百貨商場內有系統地紀錄並銷毀了他所有7,227件個人物品。蘭迪近期的作品包括《善舉（ Ac t s of

K in dn e s s）》，一個對倫敦地鐵系統內乘客之間友好互動的紀錄。蘭迪在最近被選為皇家美術學會院士，也成為了皇家美術學院的繪

畫系教授。他半開玩笑地說，他“現在終於長大了”。 “事實上，”他幽默地說， “我現在想的是要怎麼脫離這個體系。”

a Royal Academician, but also made Professor of Drawing at the

2012年十月，蘭迪在時髦的肖爾迪奇（Shoreditch）區購置了一間工

way I can get thrown out of there, really. That’s what I’m thinking

一系列連排房之中。他與同為藝術家的愛人吉莉安·崴爾玲（Gillian

Academy Schools. “Actually,” he laughs, “I’m just trying to find a about at the moment.”

In October 2013, Landy moved in to a new studio in trendy

Shoreditch. Just around the corner from Spitalfields fruit and

作室。毗鄰斯畢塔菲爾德（Spitalf ields）市集，這間工作室坐落於

Wear ing ）把空間進行了清理和改造，現在居住於新完成的頂層公寓中。在工作區域與生活區域之間有著明確的分隔，蘭迪稱其為“生活／工作空間”。

vegetable market, the building is one of a whole line that used

對於一個曾經在學生時期私自佔據於東南倫敦廢棄大樓的藝術家來

walk between all of the buildings,” Landy explains, “but, at some

的第二間工作室。他的另一間工作室位於維納街（Vyner Street），

to be used as warehouse storage space. “You could actually

point, someone decided to turn them into homes.” When he

and his partner, fellow artist Gillian Wearing, bought the space, they had it gutted and built on a new top floor in which they

now live. Landy describes it as a “live-work space”, although the studio remains very much just that, and is separate from their private quarters.

For an artist, who, in his student years used to squat in vacated buildings in South East London, having such a pristine studio

說，這樣的一個高檔整潔的工作室是一個全新的體驗（這已是蘭迪那裡聚集著許多藝術家工作室及畫廊）。 “我畢業於上個世紀 8 0年

代，那時的氛圍與現在簡直是天壤之別。我就讀的學院位於倫敦東南，在那裡你可以輕易地佔據廢棄的大樓，也能找到很便宜的廉租房。為了省錢，我們曾經自己拿著重型器械把街上的電線接到公寓裡。我們就是那樣開始的－－互相幫助，自力更生。現在的年輕一代

很不容易，面臨著非常不同的狀況。對於我這一代來說，我們要面對的是大眾對於視覺藝術的漠不關心。我傾向於相信因為我們曾經做出的貢獻，現在的狀況很不一樣了。”

space, as well as a second studio, which he mainly uses from

Y B A 運動的確對藝術生產以及消費造成了深遠的影響。 “ 在學生時

a new experience. “When I left art college in the 1980s, the art

代藝術家們更懂得這些事情。我這一代摸著石頭過河，並沒有甚麼

drawing, in arts hub Vyner Street, Bethnal Green, must be quite world was a very different place from how it is today,” Landy says. “I went to college in South East London. You could find vacated buildings there, you could squat, you could find subsidised

housing very cheaply. We used to literally bring the electricity

代，我們非常幼稚。我們不知道如何去推銷自己。但可以看到，新一

宏偉的計劃。現在，一切都是關於藝術的商品化。畫廊空間越來越大，藝術家們必須填滿這些空間，所以顯而易見地，藝術生產達到了一個新的高度。”

in off the street. We’d get a kango and rig it up ourselves. That’s

說到“ 填滿空間”，反觀蘭迪的工作室卻是驚人地空蕩蕩。除了一個

more difficult now for young people, in a different way from how

一家墨西哥美術館的模型，蘭迪將在這個美術館中再次展出去年他

how we began – it was much more of a cooperative. It’s much

it was with us. For us, we had to deal with the British indifference towards the visual arts. But obviously now that’s all changed. I’d like to think that it was because of us.”

Indeed, the YBAs are responsible for a seismic shift in art

書架，一個辦公桌以及幾張桌子之外，這裡空無一物。桌子上擺放著在倫敦國家美術館完成的展覽《聖者永生（Saints

Alive）》。蘭迪

為他工作室不尋常的整潔空蕩感到抱歉，他還半開玩笑地趕緊補充

說“我真的是個藝術家！”似乎，一個藝術家的工作室本應是淩亂、擁擠的。

consumption – and, as a knock on effect, no doubt, art

事實上，蘭迪非常喜歡去拜訪其他藝術家的工作室。 “我對別人的工

actually very naïve,” Landy continues. “We didn’t know how to

時候藝術家們以非常即興的方式工作。然而他們的工作室真的很亂。

production. “I remember, when we were at college, we were

作室很感興趣，因為我能通過這些了解他們的工作方式，並意識到有

promote ourselves. But then you see the generations that come after you become more and more knowledgeable. We just kind of made it up as we went along. There was no master plan or anything. Nowadays it’s all about the commodification of art.

Galleries are getting bigger spaces and then artists have to fill

those spaces, so obviously the whole production thing has to get to a whole new level as well.”

Talking of filling spaces, Landy’s studio is starkly empty, apart from a bookshelf, a desk, and a couple of tables with scale models of

the museum in Mexico where his exhibition, Saints Alive, which

was the culmination of his residency at London’s National Gallery last year, is soon to be restaged. Landy is extremely apologetic, almost ashamedly so, for the lack of typical artist’s mess. “I am

an artist though!” he hastens to add, as if a messy studio were somehow a compulsory identifier.

Landy likes to visit other artists’ studios, in fact. “Seeing other

artists’ studios interests me because it’s an insight into the way they work, and some of it is quite intuitive and spontaneous.

They’re really messy, though,” he adds, quite matter of factly.

Take, for example, Ian Davenport. “We went to college together

我與伊恩·達文波特（Ian

paint on him everywhere. He’d come in from the studio and he’d

到車裡，再帶到公寓裡來。”另一位Y B A 運動成員加裏·休姆（Gar y

and we used to live together. He’s a painter, so he used to have

have got it in the car somehow and so it would transfer into the flat.” Then there’s Gary Hume, another YBA, who has his studio

just up the road. “He’s another painter, so it’s much more hands on, making things, which obviously intrigues me, but I don’t do that myself. I’m sure they get some kind of satisfaction out of it, though. Maybe I should try!”

For Landy, the emptiness in his studio is, he suggests, symbolic of the emptiness in his head. At the moment, at least. “One minute it’s full of stuff and the next minute I’m wandering

around thinking ‘What am I going to do next?’ And this is the

moment you’ve found me in, the moment where I’m not sure what I’m doing. Hence the emptiness. It’s not fun being me

Davenport）是同學，也曾經住在一起。他

是一名畫家，那時他滿身都是油彩。他從工作室出來，把這些油彩帶 Hume）也是如此，蘭迪補充道： “他也是一名畫家，所以他在創作時

經常需要親自動手。這非常吸引我，雖然我並不會這樣做。我想，他們在創作的時候一定非常有滿足感。我或許也應該試試！”

對於蘭迪來說，工作室的空無象徵著當下他頭腦中的空無。 “在這一刻，我腦子裡滿是事情，下一刻我又在想，我現在應該去做些甚麼呢？你現在看到的是這樣的我，充滿著不確定的我。這就是為甚麼工

作室是空蕩蕩的。現在的我一點也不好玩，但是我經常思考這件事，

甚至有些慌張。”他的作品似乎都在經歷著某種循環。目前，他正在回顧過去的作品：除了《聖者永生》在墨西哥的展覽之外，他也將為橫濱三年展重新製作《藝術垃圾桶（Art 另一個版本的《善舉》。

Bin）》，並希望在雅典創作

at the moment, but if I think about it a lot, I panic.” His work

“我的創作總是從一個空無的空間開始，我喜歡這樣的開始。某程度

he might rekindle. As well as Saints Alive in Mexico, he is also

你就能夠確認在一個空間之中你的身外之物都是些甚麼。從前，我在

goes through cycles. Currently he is looking back on old pieces recreating Art Bin for the Yokohama Triennale and is hoping to stage an Acts of Kindness project in Athens.

上，這總與我毀掉我所有的個人物品有關。一旦你做出了這樣的事情，工作室之中堆滿了各種垃圾，而我從未認真考慮過這件事。然而，一旦我捨棄了所有這些事物，我就馬上習慣了這樣的狀態，直到現在。”

“I always start with an empty space,” he explains. “I like that.

儘管如此，他並不排斥雜物本身。 “我只喜歡別人的‘雜物’，但自己

belongings. Once you do that, you become very aware of what

做作地去重新想像自己－－並詢問我自己，還有甚麼是我想做的。我

It partly dates back to when I destroyed all of my worldly

you have in a space and what you don’t. Before, when I had

studios, I just had junk and all sorts of stuff in there and I didn’t

really think about it too much. But once I got rid of all of that, ever

的就不怎麼喜歡。我傾向於這樣去想：我必須重新想像我自己－－不

最近讀到，瑪麗娜·阿布拉莫維奇（Marina Abramovic）總試圖去蕪

存菁，而這也是我想做的。我是一名隱士。我不會跑到敘利亞沙漠與

世界隔絕，但是我也在嘗試與世界保持一定的距離。我並沒有宗教信

since, it’s always been like this, where I don’t really like having lots

仰。我在毀掉所有身外物的時候，人們常說這有某種宗教意味在這行

Not that he objects to clutter, per se. “I love clutter, just

蘭迪的工作室是一個非常個人的空間，他也沒有雇傭任何助理。 “曾

to reimagine myself – not being too pretentious about it – and

的意思嗎？如果他們現在在這兒，我會瘋的。我也會想，估計我會變

somebody else’s clutter, not my own. I like to think that I have ask myself what else I want to do. I was reading about Marina

Abramović always trying to distil everything down and I think

為裡面，但其實我並沒有宗教信仰。”

經有一次在面試助理的時候，我想：我要拿他們怎麼辦呢？你明白我成他們的奴隸，為他們工作。”

that’s what I’m trying to get to. I am a hermit. I don’t go to the

在年少時，蘭迪就因為沈默寡言、不合群而被同學們取笑。 “ 如果同

a certain extent. I’m not spiritual though. When I destroyed all

你不能這麼做！’”當然，他與人合作也常常需要助手的協助，但一

Syrian desert, but I do have to detach myself from the world to of my worldly belongings, people obviously said that you could read a spiritual element into it, but I’m not spiritual.”

Landy’s studio is a very private space. He doesn’t have assistants

學們在做畫的時候闖入到我的空間裏來，我會很認真地拒絕： ‘不，

般來說，他傾向於獨處。 “現階段，有別的甚麼人在這裡工作是一件糟糕的事情。他們也指望著你來生存，所以我不會這麼做，這個責任太大了。說實話，我都不想為自己負責。”

either. “I once interviewed someone to be my assistant and then

蘭迪嘗試每日在工作室內工作－－無論如何，他就住在工作室樓

what I mean? If they were here now, I’d be thinking ‘Oh my god’

室！”他並沒有一個特定的工作時間。 “這挺糟糕的，因為我要為自

I thought ‘What am I going to do with them?’ Do you know

and I think I’d actually end up working for them. I’d become their slaves.”

上－－他打趣地說：“只有當我沒有別的事可做的時候才會去工作己創造規律，說白了，就是創造我自己。每一天，當我來到工作室，

我就要思考我要做些甚麼。事實上，最糟糕的事是強迫我自己去做

Break Down, Installation View, 2001

of things around me.”

Art Bin, Installation View, South London Gallery, 2010, London

Even as a child, Landy, who got nicknamed “Blandy” at art college

些甚麼，因為我很容易走神。但是，本來就是這樣的，不是嗎？到頭

people used to paint on my area, I’d say ‘No, you can’t do that!’”

便飯。我有時非常有效率，有時沒那麼有效率，週而復始。我一直是

because of his reticence to speak, didn’t like collaborating. “If

In the meantime, obviously, he has had to learn to collaborate

with people on specific projects and even to take on assistants

來，這一切與別的任何人無關。我一直在掙扎，這對我來說是家常這樣創作的。而當你不知道做甚麼好的時候，那是最糟糕的。”

now and again, but, generally, he prefers to be alone. “Having

“ 有一家畫廊曾對我說，他們不能在我身上賺到任何錢。如果我能

also they rely on you to make a living, so no, it’s too much

世界都將充滿著空蕩蕩的藝術博覽會和空蕩蕩的畫廊。我不是很擅

someone here, at moments like this, it’d be horrible. And

responsibility. I don’t even really want to be responsible for myself, to be honest.”

選擇，如果我能按著我的喜好創作，整個藝術界現在就不存在了。全

長玩藝術與金錢的遊戲，基本上，我不是一個非常高產的藝術家。但這是我想要的，我也因此而高興。”

Landy does try to visit his studio daily, largely enabled by living

對著空白的畫布，蘭迪的靈感來源是甚麼呢？“我從書中獲得靈感，

else to do!” He has no specific routine to speak of. “That’s the

如此類的事物以獲得靈感，但我不想這麼做。我沒有這種具體的靈

upstairs, but this is, admittedly, “only unless I can find something terrible thing, in a way, because then I have to create my own

routine, I have to create myself, basically. Every day, when I come

here, I have to think about what I’m going to do. And the worst bit,

閱讀，然後我的想法開始擴散。很多藝術家在牆上放滿明信片或諸

感來源，我往往把這些東西扔了。然而我還會使用草稿簿，並常記錄下自己的想法。”

actually, is just sitting down and forcing myself to do it, because

蘭迪在參加倫敦國家美術館的藝術家進駐項目時被要求以館藏為基

end and no one else cares. It’s always been a struggle. This is very

看。聖人們有著那麼奇妙的故事。文藝復興藝術中有大量的鞭刑場

I get really distracted. But that’s it, isn’t it? It’s just me and it in the typical for me. I go through cycles of being very productive and

then not being very productive. That’s how it’s always been. And

this is the worst bit, when you don’t quite know what you’re doing.

礎創作個人作品。 “ 我希望直接地與公眾交流，而不僅是盯著畫作景。我來自於一個愛爾蘭天主教背景的家庭，所以我能夠感同身受。愛爾蘭天主教的一切都與揍自己一頓有關。我的藝術中也常有這種自我毀滅傾向。”

There once was a gallery that said they couldn’t make any

蘭迪的工作室更像是一個辦公室，一個孕育想法的空間。 “這裡就

to my own devices, the whole art world would be over by now.

室中，我常記下一些想法、閱讀，再進行一些寫作。”蘭迪的實體作

financial sense out of me. If it were left up to me, if I were left

There’d be empty art fairs and empty galleries everywhere. I’m

not playing the game very well. I’m not a very productive artist, basically. But that’s the way I want it. I’m happy being like that.”

Where does Landy draw his inspiration from, faced, quite literally, with a blank canvas? “I refer to some books, I read, and then my mind starts to wander. Most artists have postcards on the wall,

是一個我可以去的地方，我不想去一個咖啡館之類的場所。在工作品經常是委託工廠在倫敦以外的地方完成的。 “一般來說，我不動手

製作。我自己完成繪畫，但是不會親自完成雕塑。我一般的工作方式是：我先構建一個想法，大量地思考並完善這個想法，再找人來執行這個想法。在一個桌案上工作我就已經很滿意了。我不需要很大的

創作空間。我所擁有的只有空間，然而我並不真的需要這空間。我覺得工作室是一個負擔。這聽起來很矛盾吧。”

or stuff to inspire them, but I can’t be bothered with that. I don’t

我不禁好奇，為甚麼這樣的一位有毀滅傾向的、不需要工作室空間

sketchbooks, though, and I write ideas in books.”

的工作室，我還沒那麼極端，因為我以前從來沒有真正擁有過一個

have those kind of references, I usually chuck them out. I do have

When Landy did his residency at the National Gallery, he had to

derive his work from the collection, as that was his remit. “I wanted to engage the public, physically, very differently from when you

look at a painting. Saints have such fabulous stories. There’s a lot of flagellation in Renaissance art. I was brought up Irish Catholic,

so I could really relate to this. Irish Catholicism is all about beating

yourself up. I’ve always had a slightly destructive bent to my art too.” Landy’s studio space really is more of an office space, a drawing

的藝術家，沒有考慮毀掉他自己的工作室。 “我還沒想過要毀掉自己工作室。”不過，現在他已經擁有這個工作室了，誰知道接下來會發生甚麼呢？似乎接下來也不需要他再做更多的“ 毀壞 ”類型的作品

了。 “我常對吉莉安說我們應該把這裡租出去。”我提醒蘭迪他現在

已經擁有兩個工作室了。他會捨棄其中一個嗎？“不，不。我兩個都留著。我喜歡買空蕩蕩的空間。這也是倫敦人一直在抱怨的事，大量

外國人前來購置公寓，交易完成了就離開，使這些公寓變成了空置

房。我居然也在做同樣的事。”邁克爾，你和他們還不太一樣。你的

工作室看起來是空的，但我相信它就像你的腦子一樣，裡面充滿了各種奇思妙想，而我們正期待這些想法可以慢慢實現。

board space, a space for birthing ideas. “It’s probably a place to

go. I wouldn’t want to go to a coffee shop,” he admits. “I’m often sat there scribbling away about ideas, reading a bit, and writing things down.” Landy’s actual works are generally produced off

site by artisans whom he commissions for their specific skills. “I

don’t make things by hand, on the whole. My drawings I do, but not my sculptures. I normally have the idea first and then think

happy on a kitchen table, most of the time. I don’t need a lot of space. I just have space, but I don’t actually need it. I think the studio is a millstone around my neck, really. It is a paradox.”

Given his destructive bent, and his lack of studio requirements, I

wonder why Landy has never considered destroying his studio. “I never got as far as to destroy the studio itself,” he says, “because I never owned the studio.” Well, he does own it now, so who

knows what might happen? It seems as though there’s no need

to anticipate further destruction, however. “I always say to Gillian that we should rent it out.” I remind him that he has two spaces. Will he maybe let one go? “No, no. I’ll keep both. I like buying empty spaces. That’s what people are complaining about in

London, aren’t they? That lots of foreigners are coming over and

buying flats and just leaving them empty. And I’m just doing the same.” Not quite, Michael, not quite. Your studio spaces may be physically empty, but, like your head, they are, I am sure, full of ideas; ideas which we look forward to seeing come to fruition.

Saints Alive. Installation View at National Gallery. 2013

about it a lot and find people to go and execute it. I’m quite

Credit Card Destroying Machine, 2010

Break Down

COLLABORATIVE EMOTIONAL LABORATORY

INTERVIEW WITH MARCUS LYON

協同作業的情感實驗室專訪攝影師馬可斯·里昂

TRANSLATED BY 翻譯 x HARRY LIU 劉競晨

IMAGE COURTESY OF 圖片提供 x MARCUS LYON 馬可斯·里昂

Marcus Lyon, a British photographic artist, founded his studio in a large dilapidated glass factory in Kennington, London, 25

years ago. The area is hidden just south east of Westminster and

Waterloo, popular with MP’s and the creative communities alike,

it has undergone significant regeneration in the very recent past and provides an inspirational working environment at the heart of the city. Lyon’s career success tracks a similar path, in 1990 he bought a small brown-field plot of land and founded the

multidisciplinary art studio, The Glassworks: a gallery, exhibition venue and centre of production for collaborative and original art. Outside his art practice Lyon is a director of Somerset

House and a significant portrait artist. In that role he has been

commissioned to photograph a diverse range of public figures, from Queen Elizabeth II, to the actor Bill Nighy and the last four British Prime Ministers.

Over the course of his 30-year art career, Lyon has explored themes of global expansion and social migration in the

modern world, searching for meaning in our mass behaviours. From micro to the macro explorations of the issues at the

heart of globalization, the megacity and migration, his work

stimulates thinking about the relationship between man and the natural world.

During the interview, Lyon radiates an infectious enthusiasm for

the all he does, as an artist, a determined social entrepreneur and

an active public speaker on both photography and development.

馬可斯·里昂是一位在倫敦工作和生活的攝影藝術家，他的工作室位於倫敦東南的肯寧頓（Kenning ton）地區，這裡原本是一處玻璃工

廠，喜劇大師卓別林的母親也曾經在這裡工作過。24 年前里昂來到這裡的時候，它只是一片破敗的廠房，而經過這些年的經營，這個地區有了很大的變化，隨著自己藝術事業的蒸蒸日上，他買下了工作室

這裡一大片的廠房，改造成了現在的工作室，還邀請其他設計師和藝術家一起過來工作。

這些年裡，他拍了女王，還有被女王耗下去的四任前首相，還有各種明星。在工作室裡陳列著他創作的攝影作品，他一直都關注于人類生

存狀態的主題，通過他作品中呈現的“大量”和“ 密集”的人類文明創造的景觀來反思人類與環境之間的關係：越來越多的人口與城市

承載力之間的矛盾，我們到底能不能建造一個適應不斷湧現大量人潮的適宜居住的城市？宏觀世界的視角與微觀之間的辯證關係是怎樣的呢？

里昂是很熱情的一個人，願意與所有人探討他的藝術和我們生活的世界。去年5月份他的一張攝影作品在佳士得拍賣會上以高於估價十

倍成交，他很高興自己的作品得到大家的認可，他並沒有期望自己的作品價格會瘋狂飆升，只是不斷地強調對於質量和專業性的追求，

ART.ZIP: Would you consider your studio as a home?

對於商業上的發展里昂也很坦然，他說： “不管是做什麼都得做得專

ML: That’s a great question – as a matter of fact, there are many

來共同發展。”

times when I leave my family house on the way to the studio

業，不能馬虎，商業也是如此，我也一直希望尋求高質量的合作夥伴

and say to my wife Bel, “I’m just off home, I’ll be back soon.” So I

ART.ZIP: 你怎麼看待你的工作室，是不是像家一樣？

see from your welcome here today, anyone who visits is received

ML: 這是個很好的問題，當我從家出發去工作室的時候，很多次我都

an intimate and inspirational environment. Those values of how

家一樣看待，而且我也希望你們能感受到這裡的熱情和友好，所有來

often speak of The Glassworks as a home, and as I hope you can with genuine warmth, invited to share a meal and enjoy art in

you treat other people are absolutely at the heart of how I want my practice to be – collaborative, ethical, inclusive and open to

diversity, nationality and gender. So this is a place with an open

door policy, after all the themes of my work are mass behaviours, so I need to listen to a broad audience.

ART.ZIP: What key words would you use to explain your space? ML: Collaborative. We collaborate every day … I want everybody here to feel emotionally open. I also like the word vulnerable

對我妻子說‘我去下家裡，一會兒就回來’，所以我把工作室真的當作

訪的客人都會感受到賓至如歸的感覺，我們邀請訪客一起吃飯，讓他們在溫馨并充滿正能量的環境里享受藝術。對待他人的態度和信條

也同樣是我藝術創作的原則和目標，重視人與人之間的協作、講究為

人之道、堅持包容和開放的多元性、不分國際和性別。所以這裡的大門是對所有人敞開的，而且我的作品很多都是討論大眾行為的，所以我必須傾聽廣大受眾的各種聲音。

ART. ZIP: 如果用一些關鍵詞來描述你的工作室，你會選擇什麼樣的詞呢？

– being able to talk about all things. Set and frame difficult

ML: 協作。我們每天都會進行各種協同作業，我希望在這裡的每一個

emotional laboratory?

論的，換句話說，也許我的工作室可以稱為一個“情感的實驗室”。

questions…perhaps we could explore the idea of this place as an

人都能感覺到在情感上的融洽，所有的問題都是可以放在桌面上來討

But I also think it is really important that we have to be

但同時專業性與真誠也是同等重要的，我們在工作的時候會竭盡全

nothing that comes out of this studio can be hurried, there has to

且都是以純粹的藝術精神為先導的，我們極為重視作品在創新性和

professional and honest – with total commitment to quality…

be a focus on the purity of the idea and thought leadership…we must lead with the quality of our creative thinking.

ART.ZIP: You have also successfully used your space to show your work too?

ML: Yes, the Glassworks is fabulous for showing work, but I also

have several significant private dealers and galleries in Paris and Rio that promote my work. We have sold to museums, private

collections and through auction houses from here, but now is the time for a great gallery in New York, Hong Kong or Beijing.

ART.ZIP: You’ve had this space for 25 years, are there any special moments or stories?

ML: Having both lived and worked here, it has become a very

intimate place. I think the energy that came with this building when I moved in was obvious. I saw it and I felt it the minute I

力地追求作品的質量，從這里產出的每一件作品都是精工細作，並藝術性上的絕對高品質。

ART.ZIP: 您的工作室是不是同時也是一個展示自己作品的絕妙空間呢？

ML : 是的，我的工作室是一個非常棒的作品展示空間，在巴黎和里

約熱內盧也有一些畫廊和私人經銷商來為我做推廣和銷售。我的

很多作品被美術館和私人藏家收藏，有些被送上拍賣，我覺得現在也是一個很好的時間段來開拓紐約、香港或者北京這樣的新興市場。

ART.ZIP: 這25年以來，在這個工作室有沒有什麼特殊的事件或者故事讓你覺得非常難忘？

ML: 我在這裡工作和生活，工作室對我來說已經是一個非常貼心的地方。當年我搬來的時候，就能很容易地感覺到一種來自建築和空間本身的能量，在我來到這裡的那一瞬間，我就能看到和感覺到那種強大的能量。我最喜歡的就是那些曾經發生在這裡的多種多樣的

arrived… the stories that I like the best are about how diverse

故事，作為一個場地和空間，它經歷了各種的用途和事件，俄羅斯樂

creative endeavours – a Russian orchestra did a performance

討會，我們還在這裡舉辦過私人派對，比如生日聚會，對於這種活

this space has been… it has been a venue for so many different here once. We have had plays here, performance poetry, art shows and seminars… we have had multiple private parties

團和戲劇都曾在這裡演出過，還有各種的詩歌表演、藝術展覽和研動來說，這裡簡直是最美妙的地方。

here including hen and stag nights and fortieth, fiftieth, sixtieth,

回想當年，我們完成了工作室第一期的改建工作以後，我們舉辦了

location for all human celebrations.

不同的空間，有靈魂樂舞池、電子樂舞池，還有在花園裡的燒烤和

and a seventieth birthdays too – it’s been the most fabulous

I think back to when I was developing the land and I had

finished with phase one of the development, we did a 7 pm to 7 am warehouse party. We had a chill-out room, a soul dance floor, a techno dance floor, a garden area with barbecue and

jazz, and two bars… everywhere was different … it was like a

nightclub. A week later, at about ten o’clock on a Friday night,

my assistant opened the door to a young couple who came to

enquire if “the club was open again?” So it was as good as a club – for one night. Indeed we heard from a friend who was walking

一個從晚上7 點到隔天早上7 點的跨夜聚會，當時這裡分為了好多爵士音樂，每一個地方都和工作室平常的設置不盡相同，那一晚這裡就像是一個俱樂部。過了一週左右，在一個週五的晚上，還有一

對年輕的情侶來敲門，問我們這家“ 夜店 ”是不是還開門，可見當晚我們的派對絕對能趕上夜店的水準。更有甚者，我的一個朋友

去秘魯印加古道旅行的時候還聽說了一對夫婦在討論關於他們參加的一個倫敦攝影師工作室舉辦的“ 超級贊 ”的派對的故事。所以說，我們工作室的聲譽已經遠播到安第斯山脈那邊去了。當然，很

多了不起的人物都曾經來這裡拍照和工作，這些也都是非常難忘的記憶。

the Inca trail in Peru that he overheard a couple talking about

ART.ZIP: 比如說女王陛下？

Kennington – so word even travelled to the high Andes …and

ML: 很遺憾，拍攝她的時候是我被邀請去了她的地方。作為一名藝術

photographed here.

耀，它像磁鐵一樣吸引著人們來這裡欣賞作品，營造了一個積極的富

this amazing party they attended in a photographic gallery in

then there are all the memories of wonderful people we have

ART.ZIP: Like the Queen? ML: Sadly she didn’t come here – I was commissioned to visit her. As an artist, having a studio where people want to visit has been such a huge gift; it is like a magnet for people to the work – an

active creative community. I suppose when you think of studios

throughout history, say Andy Warhol’s Factory 59 – everyone was drawn there to share and meet. I think almost the most powerful thing that has come from the studio is the huge community of

家，自己的工作室能夠成為吸引人們拜訪的地方，這是一種莫大的榮

有創造力的氛圍。當你回顧歷史上出現過的藝術家工作室，安迪·沃

霍爾（Andy Warhol）的59號工廠工作室，就是這樣一個吸引人們聚會、討論和分享思想的地方。我覺得工作室空間最強大的一個特性就是它打造了一個巨大的社區和群體，讓人們能在這裡相聚並且一起合作完成工作。實際上我有好幾個朋友就是在這裡相遇並且最終成為了夫婦，所以我覺得用“社區”來形容工作室也是非常準確的。

ART.ZIP: 是不是這裡也像一個廟宇或者聖殿一樣？來的人都抱有一樣的信念和夢想？

people who have worked here and met here and then gone on

ML: 是的，很有可能，不過這裡並不是宗教意義上的“寺廟”，因為除

who have met here and gone on to marry – so I think that is

裡，我曾經有過30位助理，這些人現在都已經成為了藝術家，他們依

to work and collaborate together. Indeed, we have several friends definitely the right way to describe it – as a community.

ART.ZIP: Maybe a little bit like a temple – where people come with the same beliefs...

了創造力以外，我並不認為有能夠淩駕世間萬物的宗教信仰。在這然延續著這裡工作室的傳統，而且“玻璃車間（The Glassworks）”

工作室搭建起來的人際網絡還在不斷地充實、啟發和影響著其他工作室。這裡是一個真實的工作室傳奇，一個讓人獲得靈感的創意之地。

ML: Yes, perhaps. With a small ‘t’, because I don’t think there

are any over-riding set religious beliefs, other than a focus on creation. I now have thirty ex-assistants who used to work

alongside me are out there as artists today. In terms of The

Glassworks ethos many of them now collaborate. There is a true

Glassworks network out there continuing to populate and inspire other studios. This is the true legacy of having an inspirational creative space to communicate from…

Tips

小貼示

www.m a rc us lyon .com

EXODUS VI, West Lamma Channel, South China Sea, 2011

EXODUS IX, Liberty Road, Houston, 2014

PLACE OF MAKING

INTERVIEW WITH BEN JOHNSON

造物之所

專訪藝術家本·約翰遜 TEXT BY 撰文 x BOWEN LI 李博文

IMAGE COURTESY OF 圖片提供 x BEN JOHNSON 本·約翰遜

Ben Johnson plays, instead of chess as one might guess, ping-

年近古稀的英國畫家本·約翰遜喜歡在他的工作室中打乒乓球，他以

difficult to work with others around, the well-established British

題材進行創作，但對於自己私人空間的保護他卻是極為看重的─ ─確

pong in his studio. Though he admits that it is sometimes

painter uses his studio as a friendly environment and welcomes

interested visitors from all walks of life – he even thought about putting holes in the wall so that passersby can stop and take a

look at his paintings. To Johnson, who is at once beautifully clam and most passionate, life very much identifies with work, and

studio is a space that resembles a silent chapel or monk’s cell, a crowded, friendly workshop, the second home and “the place

大型都市景觀繪畫而聞名。雖然約翰遜經常以各種不同的公共空間為

保自己在創作時不被打擾。另一方面，約翰遜也在工作室中友善地歡迎每一位訪客 ─ ─ 他甚至曾經想要在工作室牆面上開孔，以便讓路

過的人們駐足欣賞他的作品。對於無比沈靜而又充滿激情的約翰遜

來說，藝術創作幾乎就是生活的全部，而工作室則是一個如教堂或禪室一般的冥想空間、一個熱鬧的作坊、第二个家，以及“戰時內閣決定下一場戰役的地方。”

where the war cabinet decides on the next battle.”

ART.ZIP: 在中國，許多藝術家擁有巨大的工作室，但這些工作室與

ART.ZIP: In China at the moment artists have very big studios

作室。您是怎樣利用您的工作室空間的？您又是怎樣看待創作、生

but the space is not really relevant to their work, for example, some painters have three hundred or five hundred square

metres studios.How do you treat your space and what is the

relationship between your works and your life and your studio? BJ: I think it is more about how the European artist works. Mostly English artists cope with the studio differently. You mentioned that artists in China have massive studios but they don’t really produce big work, but here we have, well this is a big space,

but if you compare it to other artists who work in the UK they

usually have quite small studios. Some artists live in their studios whilst some artists come and work and then go home. There

他們的創作沒有太多關係。一些畫家使用著三百到五百平方米的工活以及工作室空間的關係的？

BJ: 我想，這與歐洲藝術家的創作習慣有關。具體來說，英國藝術家

有着獨特的創作習慣。你說中國藝術家的工作室規模與創作規模不

成比例，而普遍來說，英國藝術家的工作室比較小－－相對來說，我的這個工作室已經算是大型的了。有的藝術家住在工作室里，有的藝

術家則把工作和生活空間分開。幾年前有一本關於藝術家工作室的書，邀請藝術家們展示各自的工作室。我最有趣的一次經歷是與一

位十七歲小伙子的會面。大約在一年前他為對工作室進行拍攝聯繫

到我，那時他仍是一名學生，但已對三個大型藝術家工作室完成了拍攝，我不知道他是怎麼做到的。

was a big book published a few years ago just interviewing

ART.ZIP: 那是喬希·萊特（Josh Wright），我們這期的特約編輯。

approach me to say they are doing a book on artists’ studios.

BJ: 對，他真是一個有趣的人物。他最初找到了我，我又把他介紹給了

by a seventeen year old. He first came a year ago and he was still

Arts）的財務主管，保羅為他寫了一封介紹信。他是一個有趣的人。

artists and showing their studios. I have about four people a year One of the most interesting ones was when I was approached

at school but he had photographed three major studios, I don’t know how.

ART.ZIP: It’s Josh Wright - he is our guest editor. BJ: Ah - well he is amazing. He visited me quite near the

beginning. I then introduced him to Paul Huxley and Paul, being

Treasurer of the Royal Academy, was able to write a letter and say “please take him seriously”. He’s an amazing character.

ART.ZIP: His photographs will be published in the magazine and he has helped with this issue. So it’s a network!

BJ: Yes, that is how life has to be. If somebody said to me, get

out of this studio, I would have to say I need a month’s notice. I

保羅·赫胥黎（Paul Huxley）。作為皇家美術學會（Royal Academy of ART.ZIP: 在這一期雜誌中萊特也將呈現他的藝術家工作室系列攝影作品以及文章。世界真小！

BJ: 是的。如果有甚麼人對我說，請離開這個工作室，我會回答： “請提

前一個月通知我。”這個工作室的地下室里堆滿了雜物，而那些雜物可能是負擔，而不是解脫。邁克爾·克雷格·馬丁（Michael Craig Martin） Tips

小貼示

Ben Johnson has been shortlisted for the 2014 Threadneedle Prize, showing at the Mall Galleries, London, 25 September to 11 October. He will be part of the

exhibition “Hyperrealism 1967-2013” at the Museo de Bellas Artes, Bilbao, Spain, from 7 October 2014 to 19 January 2015 and also “Photorealism: The Sydney and Walda Besthoff Collection” at The New Orleans Museum of Art, USA, from

have a basement downstairs full of things, which can become a

8 November 2014 to 25 January 2015. He is also showing work with the Paul

Michael Craig Martin are also interesting because he had a fire in

www.b e n joh n s on a rt i st .com

burden instead of being liberating - it depends. Artists such as

one of his studios and I think nearly all his works were destroyed,

Stoper Gallery at the Abu Dhabi Art Fair 5-8 November 2014.

years ago. He said it was very liberating, because all of a sudden

he hadn’t got a past. He no longer had to base things on the last painting because the last painting was gone.

ART.ZIP: Somehow one has to move on from one’s studio. BJ: Yes, like Michael Landy when he took the shop on Oxford

Street and filled it with all his possessions and then destroyed

them all, so that was the end. He destroyed his clothes, he just

wiped his life out in a public performance - but he needed the

studio to perform it. It was his stage. Like Peter Blake’s studio next door, which is not a studio, it is a work of art. ART.ZIP: A studio like a museum. BJ: It is. In fact I was talking to somebody who comes and helps

him about once a month and we were saying it’s a real problem because there is no room for Peter to work. He can’t make any

more work because the studio is full. Peter came here yesterday and stayed to work for the first time in about three months

because he has just been working at home - where there is room. ART.ZIP: So to return to the question, what do you think is the relationship between your studio, your life and your work?

BJ: My life really is my work and my studio is where I can make

the work and because I am craft-based rather than conceptually 是一個有趣的例子：在許多年前，他的工作室失火，幾乎所有作品都被毀了。他說那是一個解脫，因為這突如其來的事件讓他沒有了過

去。他不再需要以過往的作品為基礎進行創作，因為過往的作品已經消失了。

ART.ZIP: 在某種意義上，藝術家需要這種解脫。 BJ: 是的，就像邁克爾·蘭迪（Michael Landy）所做的那樣：他將自己所有的物品都搬到牛津街的一個商場里，再把它們全部毀掉，這

就是一次終結。他毀掉了所有的衣物，在那次公共行為之中清洗掉了

自己的過往，但他仍然需要那個空間來完成那次行為。那是他的舞台。彼得·布雷克（Peter

Blake）的工作室就在隔壁，但我覺得那不

是一個工作室，那是一件藝術品。

ART.ZIP: 如博物館一般的工作室。 BJ: 是這樣的。事實上，我與他的一位助手談論過這個問題：這個工

作室里已經沒有他能開展工作的地方了。他不能再進行創作，因為這個工作室已經堆滿了物件。布雷克昨天來到了他的工作室，而這是他

三個月里第一次來到工作室進行創作，因為他一直在家里創作－－因為家里有能供他創作的空間。

based, I do need the space for certain things. We have a bank of

computers because all the drawings are made on computer and for the storage of all of my photographs - my sketchbooks are a

ART.ZIP: 這又帶我們回到之前提到的問題：你是怎麼看待工作室、生活與工作的關係的？

camera and a photographic archive. Then I have a compressor

BJ: 我的生活就是我的創作，而我的工作室是我能夠進行創作的地

a very large machine for cutting stencils - because everything is

我的確需要空間來進行創作。這裡有許多電腦，因為所有的初期繪

here and I have another compressor downstairs, and I also have done using stencils. So I need quite a lot of space. I am very lucky because I found this place and bought it. It was going to be sold very, very cheaply because of the recession in 1990 - but that is the way that I have bought all my studios. I have not rented a studio for over forty years. I used to rent.

I worked in somebody’s back bedroom for six months, I worked in somebody’s garage with a roof that sloped down a meter at one end and two meters at the other, so I had to bend down

to paint on the left. I then worked in a derelict house someone was waiting to sell where there were rats and no water. I then

worked in a stable where a horse had been and the only place

that was vaguely warm was up a ladder, but it had no lavatory, so I had to have a bucket! Then I also had to have a bucket of

water for mixing the paint, but in the winter it was so cold and

方，因為我的創作是以手工技藝為基礎的，而不是以概念為基礎的，圖是在電腦上完成的，我也需要在電腦上存儲我的照片－－我的草稿本就是一部相機和一個圖片庫。另外，這个工作室中有兩台壓印

機以及一台非常大型的模板刻制機，因為我所有的創作都需要用到模板。所以我的確需要一個相對寬敞的地方。能夠找到並買下這樣

的一個工作室，我感到非常幸運。在上个世紀9 0年代的經濟大蕭條的時期，這個地方以非常低廉的價格出售。逢低買入是我購置工作室的模式。在過去的四十年內，我沒有租用過工作室。我以前曾經頻繁地租用工作室。我曾經租用別人的臥室，在其中進行了六个月

的創作；我在別人的車庫內工作過，而那個車庫的頂棚一端傾斜了一米，另一端傾斜了兩米，所以在繪畫的過程中我經常需要彎腰。

我曾經在一個非常不堪的待售房屋內創作，那裡有老鼠，沒有自來水。我曾經在一個馬廄內創作，在那裡，稍微暖和一點的位置是一

條梯子的上方，那裡也沒有洗手間，所以我需要常備一個桶！我另外需要一桶用以調配顏料的清水，但是，在冬天的時候，那裡非常

的寒冷潮濕，顏料根本無法乾掉，唯一加熱的方法是使用煤油爐，

so damp that the paint wouldn’t dry and the only way to heat it was a paraffin heater and paraffin heaters throw out huge

amounts of water, so the walls were just running with water and condensation. I used to have to go home and sit in a bath for an hour just to get warm again.

So I have had a whole variety, but the first studio I bought was

three pounds a week for rent! It was a long time ago, but at three pounds a week it was still cheap. Then I moved in. Then the

estate agent said, well look the people who own it, it’s not worth

但是煤油爐又會釋放出大量的水，所以牆面上又會有大量的水漬。那時我得回家泡一個小時的澡才能讓自己變得暖和起來。

我體驗過許多不同的工作室空間，而我第一个買下的工作室原本的租金為每週三英鎊！那是很久之前的事了，但就算是在那個時候，每週三鎊也是很便宜的。我搬了進去，當時那地產中介對我說，對於房

東來說，每週三英鎊也不是甚麼大數目，你想不想買下這個房子？我

問多少錢，他說四千鎊。所以我以四千英鎊買入了我的第一个工作室，而後以五萬鎊賣出，再用這五萬鎊買入了另一間。

a lot to them, three pounds a week is nothing, do you want to

那是一個三十六平米大小的工作室，是一間一層半高的房子，房子後

my first studio for four thousand and then I sold it for fifty-

在工作室中飛舞。我那時住在這個工作室的馬路對面。在1995年我

buy it? So I said how much? Four thousand pounds. So I bought thousand and I bought another one for fifty, which I have kept. It was six meters by six meters and on one and a half floors

with a courtyard and I could keep my bees in the courtyard. I

used to leave the big doors open and the bees would come in the studio and fly around and then fly out and go in the hive. I

lived just across the road from it. Then in 1995 I wanted to start

making these large cityscapes, so I bought this studio where we are talking now. I wanted the cityscapes to be for the people. I

was even thinking of putting a hole on this front wall so people

面有一個小庭院，我用這個庭院來養蜂。我常開著後門，蜜蜂們就常

開始了創作大型城市景觀繪畫，所以我買下了我們現在身處的這個

工作室。我希望這些城市景觀是為了廣大觀眾而存在的。我甚至想過在牆上開孔，好讓路過的人們駐足欣賞工作室內的作品－－就一

個小小的窗戶就行了。但我並沒有這麼做。最初的計畫是，在完成了我的大型城市景觀繪畫系列之後，我會回到小型的工作室之中去，創作更小、更親切、更個人的繪畫。我的妻子總對我說，現在你有了更大的工作室，不要創作太大的畫作！我說不會！我當然不會！然而，當然，當你有了更大的工作室的時候，你就會創作更大的作品，但這也提高了收藏我的畫作的門檻。

walking past could look in and see how the painting was going,

那，我是怎麼看待工作室空間的呢？工作室空間必須是實際的，但如

I didn’t do that. This studio was initially to make my cityscapes

我也相信你可以以自身的努力讓空間變得奇妙。你能夠通過一些措

rather like you do with a building site - just a small window. But

and the plan was always to go back to the smaller studio when I

started making smaller, more intimate, personal paintings again. The one thing that my wife said to me was, now you’ve got a

bigger studio don’t start making bigger work, and I said, I won’t! Of course I won’t! But of course, when you have a bigger studio, you make bigger work, but it means that very few people can house my paintings.

So what do I think about the space? The space has just got to be practical, but sometimes if you are lucky enough or you

spend a long time looking, you do find a space that has some magic to it, although I do believe you can make the magic in

a place. You can change the whole atmosphere by good acts,

by getting good vibrations into a building, but some buildings

果你足夠幸運或足夠有耐性的話，你會找到一些奇妙的空間，當然施改變整個氣場，為一幢建築帶來好的感覺，然而也有一些本來就

讓我覺得親切的建築，身在其中就是感到愜意。所有這些與工作、勞動有關－－我們身處的這建築原本就是建築商人使用的空間。這個空間原本裝滿了各種水盆、水池、煙囪頂管，隔壁彼得·布雷克的工

作室里原本有着各種塗料、玻璃，而保羅·赫胥黎位於對面的工作室則有着各種硬件、轉軸、釘子、門配件等。這三個工作室之間的庭院一直是公用的，布雷克的工作室之中有一個小房間，原本用來安放運貨的馬匹。牆上有着許多記號，記錄著馬隨著年齡增長逐漸增加的

高度。這是第一間位於哈默史密斯地區的建材店，建立於189 0年，

地下有一條隧道，穿過我和布雷克的工作室直至泰晤士河。有一次在庭院中施工時，庭院坍塌了，建築工人們掉進了隧道里，他們才發

現這條隧道，並意識到舊時人們用這條老舊磚牆隧道前往泰晤士河邊，裝卸磚塊。所以這一直以來就是屬於勞動人民的空間。

just naturally feel right and for me, this just felt right. It was all

ART.ZIP: 而您在家裡也有着一個很不錯的工作室。

by builders’ merchants. This building was wash basins and sinks

BJ: 是的，我有兩個工作室，因為我在家裡也需要一個用以創作的空

and Paul Huxley’s building opposite was hardware, hinges, nails,

個有趣的例子。我現在居住的社區在上个世紀六十年代末建成，是

about working - because these buildings were originally used

and chimney pots, next door, Peter Blake’s, was paint and glass

door fittings and then the courtyard was always shared and Peter has a little room in his studio which was for the horse to do the

deliveries. They have got marks on the wall showing the horse’s height as it grew - this was its height after one year, two years,

間。事實上，關於人們對於藝術家工作室的態度，我的這個選擇是一專門為了藝術家們建造的房屋，所以每一幢房屋中都有一個或兩個工作室空間。這些房屋的設計是這樣的，一點點的廚房，只有一間淋

浴室的小洗手間，所有其他空間都貢獻給了藝術。起居室很漂亮，但總的來說，基本空間設計包括頂層的一個工作室、地面的一個工作

three years, fours years. It was the first builders’ merchants in

室、兩個臥室以及一個非常小的廚房。我花在這個工作室里的時間

the courtyard, through Peter’s studio, right the way down to

八點左右離開。

Hammersmith in 1890 and we have a tunnel which goes under the river. When the builders were working on the courtyard, the

比花在家里的要多。我每天早上八點三十分來到工作室，一般晚上

courtyard collapsed and they fell into a tunnel and then they

ART.ZIP: 那真是很長的工作時間。

realised they used to unload bricks there delivered by river. So

BJ: 是的，因為繪畫需要大量的時間，同時也因為－－這也在回答你

could go down the tunnel, which is an old brick tunnel and they this has always been a place for working people.

ART.ZIP: And you also have quite an amazing place at home. BJ: Yes, I’ve got two studios because I also have one at home. In fact that is quite an interesting example of people’s attitude to

artists’ studios. Where I live now, these studios were built in the

late sixties and they were built for artists, so each house has either one studio or two studios. The way that they were designed was

的另一个問題－－工作室幾乎是一個家。這是我的第二个家。這幾乎是我生命中最能夠讓我保持清醒的事情－－創作。

ART.ZIP: 這個工作室里充滿了你的各種理念。每天在關門離開時，你感覺到輕鬆嗎？

BJ: 每天晚上我回到家里，享用晚餐，看半個小時的電視，上床睡覺，一個小時後起床，思考三个小時應當如何創作！

that the kitchen was tiny, the bathroom was small, just a shower

現在，有幾位助手在幫助我創作。許多年來，我沒有雇傭助手，甚至

room, but basically a studio on the top floor, a studio on the

在地板上打量我的畫作。那時我每日長時間工作，早上八點鐘來到工

room - everything is given over to art. There was nice sitting

ground floor, one bedroom, a small bedroom and a very small kitchen. I spend more time here than I do at home. I arrive at about eight thirty and I leave normally at about eight. ART.ZIP: That’s a very long day. BJ: Yes, the paintings take a long time but also - and this is

answering another of your questions - what do you call the

studio, which is, it’s almost home. It’s my second home. It’s also probably the one thing that has kept me sane throughout my life - working.

ART.ZIP: Your ideas are everywhere in this space, are you happy when you shut the door, are you released?

BJ: I go home, I have a meal and I watch half an hour’s television, I go to bed and after an hour I wake up and think about the painting for three hours!

I work with assistants. I didn’t for years, it’s only in the last few

years there is even a chair in the studio because I thought, well, I don’t sit down - if I need to sit down I can sit on the floor and

沒有一把椅子，因為我不用坐下。如果我真的需要坐下的話，我就坐

作室，一直工作到晚上八點或八點三十分，每日如此，一週工作七天。

那時，在工作室中我不與任何人交流，只聽廣播。晚上回到家以後我對我的妻子不停地說話，而同樣工作了一天的她只想要靜一靜。看到

她的目光開始呆滯，我就問她： “你沒有在聽我說話，對不對？”她會說： “抱歉，我沒在聽，我需要安靜！”與人溝通當然需要花費精力，

但是我現在很享受與助手們一起工作。我試圖確保大家在下午五點三

十分左右離開工作室，這樣我就可以有一些安靜的時間與我的作品獨處。我經常會把冷冷的燈光關掉，坐在畫前，靜靜地審視我的作品。

這樣，你就可以以另一種角度來看你的作品，為明天的工作作準備。在白天的時候我通常會非常繁忙，助手們會因為各種事情徵詢我的意

見，比如，這裡是否需要多一些色彩，你是否可以看看這裡，或我們應

當怎樣處理某個事情等等。這與整個創作過程有關，但同時也意味著我需要一些管理技能，但其實我一點都不懂得如何去管理。完全沒有

管理技巧的我會要求某個助手去花三天時間完成一件事情，而三天後

我意識到我並不需要完成這件事情。而我仍然要為了這三天的工作付給他們薪水，所以我真的不懂如何去有效地管理一個團隊。

ART.ZIP: 藝術創作是複雜的，因為你不能早早地計劃好所有事情，而只能在創作的過程中發現新方向，所以在藝術創作中管理一個團隊是困難的事。

look at the paintings. I worked really long hours then, I used

BJ: 是的，但是助手們一般只進行相對機械的工作。在這個工作室

eight or eight thirty and I would also work seven days a week. I

要為接下來一兩個星期或一兩个月的工作作出計劃，在有些日子

to be in at eight in the morning and I would never leave until

would have been listening to Radio Four all day and not talking

to anyone and then I would go home to my wife who had been

at work all day and she would want silence. I would want to talk,

talk, talk and I would just see her eyes glaze over and I would say,

you aren’t listening are you? She would say, no, I’m not, I need the

里，我是唯一一個在進行創作的人，因而問題是這樣的：因為我需

里，我創作的速度趕不上他們工作的速度。有時候，到了下午兩點鐘左右，我已經回答了那麼多關於未來計劃的問題，以致於我要宣布，我不能再與任何人就任何問題談話了－－我還沒有開始動筆

呢。我們在討論未來的繪畫，但是我們不能為了未來生活，而只能為了現在生活，生活於當下。所以與別人共用工作室或與助手們一

quiet and of course I needed the energy of talking to somebody

齊工作是另一件有趣的事情。在幾年前我完全不能這麼做，但是我

about five thirty because then I can get quiet time in front of the

利物浦的一間美術館內創作的時候我必須要旁若無人地畫畫，可

else, but now I love it. I try to make sure everybody leaves at

painting. I will often turn the lights down so it is not such a cold light, and then just sit and look.

You can plan the next day and you see the work differently.

During the day I am just so busy, people are asking me do you need more colours here or could you come and look at this or how can we plan that. It’s more to do with the process but it

現在可以了，我可以把他們屏蔽掉。舉例來說，在 2 0 0 8 年，當我在每週大約有一萬人前往該美術館看著我創作。那一次，我在這個工

作室里花了兩年時間創作一幅有關利物浦城市景觀的大型畫作，並在最後階段前往利物浦在公眾面前完成那幅作品。

總而言之，一個工作室是一系列獨特空間的結合。這是一個教堂、一個作坊、第二个家，以及戰時內閣決定下一場戰役的地方。

also means that I need to have some management skills - which

ART.ZIP: 大本營。

they spend three days doing it and then I think, I don’t really

BJ: 是的，大本營。這也是我鍛鍊的地方，我們在午休時打乒乓球。工

that’s bad management.

樓下非常讓人難堪，而咱們所在的這層還算過得去。我有兩個兒子，

I don’t have. I am useless, I ask someone to do something and

need that, and I still have to pay them for those three days - so

ART.ZIP: It’s always tricky with art because you can’t plan

everything and you discover things as you go along so it is difficult to oversee a team of people.

BJ: Yes, but they are mainly doing pretty mechanical things.

I am the only one who paints and the trouble is, I give them

作室的確是我生命中重要的一部分，然而我把這裡佈置得非常簡單。在我二十年前入駐這個工作室的時候，他們剛剛要離開家出外闖蕩，

所以地下室里堆滿了他們的衝浪滑板、老舊自行車、草稿本、作品集以及家具。

ART.ZIP: 您有沒有想過生活在工作室空間之中，更緊密地結合工作空間和生活空間？

more to do than I can cope with on any given day because I am

BJ: 我在考慮這件事情，因為我家里有一個不錯的工作室。那個空間

months ahead. Occasionally I have got through to two o’clock

這是一個非常吸引我的想法：每次只進行單幅作品的創作，直到那

planning things for a week, two weeks, three weeks or sometimes in the afternoon and I have been answering so many questions

about future projects that I have to say, I am not going to talk to anybody else about anything else - I’ve not done any painting.

並不夠大，除非我想要回歸到之前的單幅作品工作室創作形式，而

作品完成，在作品離開我之前，除了那幅畫和有關的草圖以及色稿之外不留一物。儘管我很喜歡這個主意，但現在一系列作品同時進行的狀況也很讓我很滿意。

Room of the Revolutionary, 2014, Acrylic on canvas, 225 X 150

I’ve been talking about future paintings but we can’t live for the

would realize, I’ve left my shoes on the other side of the room -

of having a shared studio or sharing with assistants, is another

a rush I would have to walk across and wash my way out again!

future, we have to live for now and get on with now. So the idea interesting one. I couldn’t have done it a few years ago but I can do it now, I can switch off. I certainly had to when I was working

in a museum in Liverpool in 2008 - we had ten thousand people a week coming and watching me work. I worked for two years

here in the studio on a cityscape of Liverpool and then went to Liverpool and finished it in public.

So a studio is a very peculiar set of spaces. It’s a chapel, it’s a workshop, it’s a second home, it’s the place where the war cabinet decides on the next battle. ART.ZIP: Base camp. BJ: Yes, it’s base camp. It’s also where I get exercise because we play table tennis at lunch time. The studio is such an important part of my life but I have kept this building very, very simple. Downstairs is an absolute disgrace and it’s just about under

control up here. Also I have two boys, who, when I took this place over twenty years or so ago, were just about leaving

home, so I’ve got surf boards, old bicycles, their sketchbooks, portfolios, bits of furniture.

ART.ZIP: Do you ever think about living in your studio and combining your studio with your home?

BJ: I’m thinking about it because I have this wonderful studio at home. It’s not quite big enough - unless I go back to having a

one-painting studio, which is a very attractive idea - the idea that I just work on one painting with nothing else around except the

drawings and the colours relating to that painting and when that

so I used to have to sit outside until the floor dried or if I was in

I wanted it to be a fresh start everyday. It was sort of the monk’s

cell. That is the other thing, it is a place of meditation, the studio. It’s meditation in action.

Now the question was about what I would call the studio - but I can’t just call it home or second home because it it is also the

monk’s cell, it is a place for exercise, it’s a place of laughter, it’s a

place of silence - although we also listen to a lot of audio books and I listen to music. It is just a very, very big part of my life. Last week I had an interview about my childhood and I came from

a very dysfunctional family. There was a lot of violence and my

father was a very wild and eccentric man, my mother was fairly

wild as well, and they said to me, but you’re so calm. I replied that, if I hadn’t had a studio, if I hadn’t had art, I probably would have been wild like my father and my mother. I’d have killed myself -

drink, drugs, violence - great passions. But my passion is my art. It is also the vehicle for containing and allowing my passion to

develop. And it’s a positive passion, it is not a destructive passion. I am a maker, not a breaker.

這麼多年以來，很多人說我的工作室像是一個實驗室或是一個牙科

大夫的診所，因為在使用上一個工作室的時候－－那里的地板是白

色的－－我常常在結束一天工作後仔細地清洗地板。然而，問題是，

常常在我清洗到大門的時候我才意識到，我的鞋子在工作室的另一端，所以我會坐在工作室外等地板乾掉，如果我很著急的話，我只能走進去穿上鞋再從頭清洗一次地板！我希望每天都有一個嶄新的開始。那就像是一個僧人的禪室。這是工作室的另一方面：工作室是一個冥想的地方。我在這裡通過創作完成冥想。

painting is finished it either goes out or it goes to a dealer or it goes

在上个世紀 8 0年代，我經常外出從舊牆、各種石質結構以及馬路上

though, I have really enjoyed having all of these paintings going on

用這些東西。很多以這種方式彙集來的材料都爛了，但我從它們身上

into store and then I work on the next painting. Having said that,

at the same time - these two are not quite finished, these two are finished, this one is just starting - so I can jump around.

收集材料。那些材料雜亂無章，我也從來不知道我到底要怎麼樣使

學到很多。你看，我也把工作室當作一個可以弄得髒亂的地方－－而你在家里肯定不能這樣做。

In the eighties I was going out and taking castings from old walls

你問我甚麼是工作室，我不能簡單地說這是家，或是第二个家，因為

never knew how I was going to use any of them. A lot of them

方－－儘管我們會播放許多有聲讀物或聽音樂。這真的是我生活中很

and stones and pavements. They were totally random and I

just fell apart, but I learned a lot. That was me just using my studio as just a dirty room - I mean, you couldn’t do it at home.

A lot of people have said over the years that my studios looked like a laboratory or a dentist’s surgery because the last studio

before this one, every evening - it had a white floor - I used to wash my way out. The trouble was when I got to the doors I

這也是一個禪室、一個鍛鍊的場所、一個愉快的地方、一個沈默的地

重要的一部分。上个星期我接受了一次採訪，談起了我的童年。我來自

一個破碎的家庭，家庭生活充滿了暴力，我的父親是一個瘋狂而古怪的人，我的母親也毫不遜色。採訪者對我說，可是你很安靜啊。我回答他們說，如果我沒有工作室，沒有藝術，我很可能也會步我父母的後

塵。我可能會毀了我自己－－酒精、毒品或暴力。但慶幸的是，我的激

情是藝術。這是承載並發展我激情的載體。這是一種正面的激情，而不是一種毀滅式的激情。我是一個創造者，不是一個毀滅者。

MY WORKSHOP, MY STUDIO INTERVIEW WITH JAMES CAPPER

我的車間工作室專訪藝術家詹姆斯·卡珀

TRANSLATED BY 翻譯 x HAZEL KE 柯淇雯

IMAGE COURTESY OF 圖片提供 x THE ARTIST AND HANNAH BARRY GALLERY 詹姆斯·卡珀及漢娜·百麗畫廊

James Capper is a young British artist graduated from the Royal College of Art, London. Capper is a very interesting artist, or

rather, a lad at the age of 27 using his studio like an industrial workshop—-a large cluttered workspace. He did not care

about the studio mess, he laughed, he talked, as free as a bird. Despite all achievements he has had—-a bursary member of

the Royal British Society of Sculptors; won the Royal Academy’s Jack Goldhill Award for Sculpture; shortlisted for the Jerwood Sculpture Prize; featured as part of the Peckham Pavillion at

the Venice Biennale; having his new work Hydra Step shown

in the Art Basel Hongkong—Capper concerns more about his

creation. He has such a delightful and innocent personality that he transforms all his curiosity and passion towards machines, mobile sculptures, metamechanics, Kinetic art, whatever

you call it. Recently, he owns a new big studio, a 250 square

metreswarehouse space, which he is wild about, as the new

playground enables him to embark on a lot of projects that could not be realized before.

詹姆斯·卡珀是一位英國青年藝術家，畢業於倫敦切爾西藝術學院，

年僅27歲的他是一個非常有趣的藝術家或者說是一個大男孩兒，他的工作室就是他玩耍的空間—— 一個一團糟的大車間。他對自己雜亂

的工作空間倒是毫不在意，拉著我們一起侃侃而談。雖然年紀尚輕，但履歷當中卻已經有一長串的光輝業績：獲得英國皇家雕塑家協會

獎學金（Royal Society of British Sculptors Bursar y Award），入選皇家藝術學會傑伍德雕塑獎（Royal Academy of Arts Jerwood Sculpture Prize），傑克·歌德西爾雕塑獎（The Jack Goldhill Prize for Sculpture）等等。

從出道到今天的6年里，卡帕可謂是順風順水，對此卡帕的反應出奇的淡然，他好像對這些外在的改變和他本身並沒有太多的關係，除

了創作以外的事情都是他的代理畫廊來為他打理。卡帕天真無邪的品性讓人覺得非常的可愛，他把自己的好奇心和對機器的熱愛轉化為了源源不斷的靈感來源。最近他終於有了自己的一個創作空間，一

個250平米左右的廠房，他覺得特別高興，因為他可以做很多原來不可能實現的項目。他最新完成的機械蜘蛛Hydra Step也會在今年香港巴塞爾藝術博覽會上露面。

Tips

小貼示

www.h a n n a h ba rr y.com /a rt i sts / ja m e s _ca p p e r/

Sculptor, Engineer, Mechanist, Innovator

雕塑家、工程師、機械師、創新者

ART.ZIP: You are very fond of moving things?

ART.ZIP: 你對移動的物體有十分濃厚的興趣嗎？

JC: My interest is in things that walk, and different forms of

JC : 我的興趣就是那些會“ 行走”的物體。還有形式各異的動力裝

them semi-mechanically - taking some of the simplicity of the way

械的作品：我會選取較簡單的昆蟲移動方式，將這些方式轉變為

propulsion - I’m looking at insects, very small animals to then make that they move and turning that into a mechanical movement.

置 —— 我會研究昆蟲和小動物，然後模擬它們的運動製造出半機機械運動。

ART.ZIP: Like a robot?

ART.ZIP: 就類似機器人？

JC: Well, yes. That’s what a lot of people in industry say - I’ve got a

JC: 嗯，是的，許多工業人員是這樣認為的。我得到了許多工業人員

paint them, and they help me put the pipes on them, and they

稱我的作品為機器人。但實際上我的作品並不是自主移動的，它們

lot of people who help me make things in industry - they help me refer to them as robots - but they are not actually automated.

They are controlled by me, so that’s why I call them machines

rather than robots because they are controlled by me rather than a computer. Most robots will use a computer or an interface or

something to make them move or perform an action, but that is something I am not too interested in.

ART.ZIP: So you call them machines or sculpture? JC: I refer to them when I am talking to people in industry as

machines, whereas in a gallery they’re sculptures. So I have this

的幫忙，他們協助我製造。他們幫我塗色，幫我組裝零件。他們通常統一由我控制。這就是為什麼我稱它們為機器而不是機器人，因為

是我在操控而非電腦。大多數機器人是在電腦、接口或別的方式控制下移動或執行指令，這些我就不太感興趣了。 ART.ZIP: 所以你稱它們為機器還是雕塑呢？ JC: 當我談話的對象是工人和技術員的時候，我稱它們為機器，而在

美術館里我稱它們為雕塑。因此我的世界總是混亂不清—— 一半是工程師的我和另一半是雕塑家的我，我必須和其他工程師一起工作讓這些雕塑運轉。這雙重身份之間有太多不同之處。

very confusing world, where half of me is an engineer and the

事實上，從雕塑的角度，我的作品是非常與眾不同的，並且我始終是

to get my sculpture made, there’re various different languages

想也許過度開放了，並且我也沒有具體的市場定位。比如，中聯重料

other half of me is a sculptor and I have to deal with engineers between the two.

以一位雕塑家的立場來發表言論。我想，要成為一名工程師，我的思

（Zoomlion）生產起重機和推土機，它面向的市場就是對這兩件商

James Capper, Tread Toe, 2010

The fact is that they are very unique as sculptures and my platform

品有需求的買家。但我並沒有什麼市場導向性，所以我更自由些。我

I suppose, to be an engineer and I don’t have a specific market

工程學知識來發揮想像力。所以，我在做的事就是和其他工程師們

of voice is as a sculptor in the world. I am a bit too open minded,

place, for instance if Zoomlion makes cranes and bulldozers, they will sell to people who need cranes and bulldozers; whereas I

don’t have that need, so therefore I am a lot freer. I have complete control and money doesn’t effect what I do. This allows me to be utterly creative with engineering. So basically, what I am doing with my sculpture, is using mechanical components that you

would use with machines, working with engineers that enable me

to get these machines to work and then demonstrating them. For example in Hong Kong we demonstrated two machines in the

booth at the Art Basel fair. When people walked around, they can

能完全把控我想要的，金錢影响不了我所做的事，我可以盡情地用一起把所有的機械組件拼裝起來，使這些機器能運轉，然後向大眾展示。比如這次在香港的巴塞爾藝術博覽會，我將會有兩件作品參

展。觀眾在看展的時候就會發現這兩台走來走去的雕塑，這樣他們

就會了解到雕塑是移動著的。我認為我是在打造機器的美感，而這

種美感就是我的雕塑語言。反過來講，作為一名工程師該做的，就是用日常的製造語言解決工程中相對簡單的問題；但是我正在嘗試創

造不同的移動機器和各種動力裝置，讓機器可以在地上移動。展覽上的兩件作品均來自我的《陸地邊界（Ear th Marking Division）》系列作品，它們絕對是獨一無二的。

see these two sculptures moving, so in that sense the viewers saw

工作室與車間

the aesthetic of the machine and that aesthetic is my language

ART.ZIP: 你大部份工作都是在工作室里完成的嗎？

they use that language on a day-to-day basis to solve relatively

JC: 工作室對我而言非常重要，如你所見，這裡是相當大的一個工作

trying to pioneer various different walking machines and different

裡，我都擠在一個非常狹小的空間，大概只有80平方米，而現在我能

the sculptures move as well as work. I suppose I play around with in sculpture. It’s a reversal of say, what an engineer would do -

simplistic problems and issues in engineering, whereas here I am forms of propulsion moving through earth.

So these two machines here are from the Earth Marking Division and they are highly unique. There is nothing else like them in the world.

空間。我努力了好多年才有了這樣一個工作室。在此之前的四五年在2 50平方米的空間裡創作。我北京的朋友竟然有一間30 0 0平方米的工作室，真是太不可思議了！但是我的工作室在倫敦是比較大的

了，特別是對於我這個年齡層的雕塑家而言，因為我還不算是名氣非常大的藝術家。可能對大多數人來說，按部就班的職業生涯發展都是一個緩慢的發展過程，可是我不是很喜歡這種模式，我屬於那種

鞭策著每件事往前跑的人。有些時候，我覺得呆在這裡好像是被拴著鐵鏈大球拖向海底；但有時候，像是今天，我有了新添置的設備，

Studio & Workshop

ART.ZIP: Would you consider developing the studio as a

ART.ZIP: Are most of the work finished here in the studio?

the work?

showroom? Or a social space that people could come to view

JC: Studio is very important for me, as you can see, it’s quite a big

JC: Well yes, I’m trying to do that at the moment! Although I

a number of years. I worked in a really small, tiny little room for

is going to be my show space, and then that’s the fabrication

space and it has taken a while to get to a space like this, it’s been four, five years. It must have been about 800 sq. feet and now I

am in 2500 sq. feet. My friend in Beijing has some crazy 3000 sq. meters studio - it sounds amazing! I suppose my studio is big in London, it is a really big studio for a sculptor of my age who is

not really a super renowned artist yet, but it is a slow thing for

anyone to develop that sort of career or whatever you want to call it. I don’t like to refer to it like that. So I’m sort of pushing everything as far as I can go. There are some days when I am

here that make me feel there are a big ball and chain pulling you

know you can’t see it, because it’s a mess, but this area here workshop, behind there is the wood workshop and storage.

So it’s all quite compact - like being on a boat or something.

It’s like a barn, really! I feel that there should be some horses, I should have some farmed chickens running around or something (laugh).

ART.ZIP: Have you tried any artist studio companies before? How was that?

to the bottom of the sea, but there are other days, like today,

JC: Yes, I did. What happens in London is a lot like New York, there

really feeling good. I am someone who has to be really near to

out with cheap studios, like ASC (Artists Studio Company), which

where I have got my new equipment through, and I’m high - I’m the construction side, even though there are people who make

the hydraulic hoses and help me with the electrical engineering

side of things, they often come here to this workshop to do that. The electrical engineers - they were here about two weeks ago fitting out these machines - just walked around the studio as if

it is a workshop, they can go over to the tool box, open the top

drawer and get a screwdriver out and work. They are comfortable working here. So for me, studio is a combination of a studio and

workshop, it is probably as industrial as you can get, and still I call it a studio.

are quite a lot studio companies that specialise in helping artists

I was with before. Normally they get a semi-derelict building and then divide it up into very small spaces for artists to rent. The reason I didn’t go back to a studio company was I needed to

expand, so I found this space by luck because I knew the welders

and the powder coating company next door. I worked with them for a while and then one day they told me about this space. It

actually put me in the right place to get my paint done - so it was

like the typical business scenario - move to the source. If you’re not getting your steel on time, make sure the steel mill is next door.

I used to have very small space studio for 4-5 years, it’s only been

我的狀態就非常的好。此外，我還必須接觸施工方，甚至是一些製作

put all my money into a larger workshop.

所以他們經常來車間工作。電子工程師們從兩週前就開始在這裡裝

up until recently that I’ve been able to make enough income to

As a process the workshop is really fundamental. I am an artist

who makes his own work rather than contracting it out, so from

my perspective, what happens here is the most important thing. And the most important thing in the scheme of the work is

the actual chassis and the steel side of it. I have to get all of the

hydraulic cylinders in and get the chassis together so that all of

these machines could move and coordinate in the right way. Once

液壓軟管的人員，我需要他們協助解決關於電子工程方面的問題，

配機器，現在在工作室工作就像在加工車間一樣。他們隨時可以打開工具箱，打開頂層抽屜，拿任何一把螺絲刀出來工作——他們在這

裡工作很自由。所以，我的工作室應該是工作室與車間的結合，這裡可能很像工業廠區，但我還是稱它為工作室。

我曾經在非常小的工作室裡工作了4 、5 年，直到最近當我有足夠的收入時，我才有能力換成更寬敞的工作室。

they do that without the oil in their system, there are a couple

在創作過程中，加工車間是非常必要的。因為我的作品一定得自己加

come to life. It’s kind of like the way some people would make

來說都是最至關重要的。在作品的結構中最重要的部份就是底盤和

of different people who could get involved to help the things to motorbikes, they put things together on the frame and then they

look at it, they step back. It’s not done from a drawing - it’s trial and error - and I really work like that, especially with these prototypes. So that’s how they come together and you can’t really employ

engineers to do that, you really have to do that in your own studio.

工完成，而不是承包給第三方。所以在車間裡面發生的一切事物對我鋼邊。我只有把所有的液壓缸和底盤都拼裝完整，這些機器才能正

確無誤的運作與協調。如果是機器沒油了，這裡其他人也能讓它恢復

工作。這就好比是組裝一輛摩托車，我們把零件都安裝好，然後還需要不斷地調試和修正。光照搬圖紙是遠遠不夠的，要通過反覆的調

試來完善它，特別是這些樣板機器。這就是我的工作方式。所以我沒

法僱用一堆工程師來處理這些問題，我必須在工作室裡親自完成。 ART.ZIP: 你有考慮過把工作室發展成陳列室嗎？或者說是一個大眾能來觀摩作品的社交場所？

JC: 有，我正朝著那個方向努力。雖然你現在還看不出來，因為這裡空間是加工車間，再後面就是木工車間和儲藏室。一切都規劃得十

分緊湊，像是在船上什麼的。嗯，像馬廄！我應該養一些馬，再養些雞讓它們到處亂跑什麼的（大笑）。

ART.ZIP: 你之前有在任何一家藝術家工作室裡創作嗎？覺得如何？ JC: 是的，我有過這樣的經歷。在倫敦的工作室運作模式和紐約很相

似，這裡有許多工作室機構專門為藝術家提供便宜的工作室，像 ASC (Ar tists Studio Company)，我過去就在那里租用工作室。通常他

James Capper, Drawing of Mountaineer

目前亂糟糟的，但這塊區域很快會變成我的陳列室，接下來那邊的

們會找一棟半廢棄的大樓，將內部分隔成很多小空間，然後分租給

藝術家們。我沒有回那兒的原因是我需要更大的空間。非常幸運的，我找到了這個地方。因為在此之前，我認識了這裡隔壁的電焊工和一家塗料公司的人，我和他們共事過一段時間，通過他們的幫助，我

租下了現在的工作室。這真是個很棒的地方，我的塗料供應商就在

隔壁。就像那種典型的商業模式： “離貨源越近越好。萬一不能準時

James Capper, Hydra Step, 2014

收到鋼材，你還能依靠旁邊的鋼鐵廠。”

PAINTING SPACE INTERVIEW WITH DANNY ROLPH

繪畫的天地專訪藝術家丹尼·羅爾夫

TEXT BY 撰文 x BOWEN LI 李博文

IMAGE COURTESY OF 圖片提供 x DANNY ROLPH 丹尼·羅爾夫

British artist Danny Rolph excels in juggling his artistic

practice, international exhibitions, teaching in numerous

prestigious institutions, and family life. Always enthusiastic and impeccably friendly, Rolph is an artist of formidable determination who enjoys the uncertainty in his artistic

creation, maintains a certain British privacy and at once a

warm hospitality, and deals brilliantly with all aspects of life in and out of his cozy studio.

英國藝術家丹尼·羅爾夫在日常藝術實踐、國際展覽、學院教學以及

家庭生活之間實現了完美的平衡。羅爾夫熱情、友善而堅定，他享受

自己藝術創作中的不確定性，保持著一種英式傳統禮儀卻又非常好客，積極而有效率地處理工作室內外的各種事宜，使工作與生活達到了高度融合。

ART.ZIP: Our last interview was with Ben Johnson. DR: Funny - he was one of my tutors on foundation at Saint Martins in 1986!

ART.ZIP: And before he was not perfectly comfortable working with other people around.

DR: Does he feel too self-conscious? ART.ZIP: Not really, we think he just prefer a quiet environment. DR: Well, I always have music on and sometimes I dance! I’m

often walking around looking up close at something or looking at the studio door, scratching my head, reading books, I have a lot

of books in the studio and read all the time, so if you had a CCTV on me you would think I was a crazy animal going slowly out of its mind -- dancing his way into oblivion!

ART.ZIP: 我們剛剛採訪了本·約翰遜（Ben Johnson）。 DR: 真的嗎？我1986年在中央聖馬丁藝術與設計學院學習時他是我的老師！

ART.ZIP: 約翰遜不太希望在工作時被打擾。對他來說，在工作室里的訪客或是助手都可能成為他的一個困擾。 DR: 是不是因為他的自我意識太強了？ ART.ZIP: 那倒也不是，我們覺得他就是更喜歡安靜的環境來創作。 DR: 在工作室裡我總是需要音樂，甚至有時候就跳起舞來！我經常在工作室里走來走去、東張西望、盯著工作室的門看、抓耳撓腮、或者

讀書，我在工作室里堆放了許多書，所以經常在這裡閱讀。如果這裡

ART.ZIP: But that’s the thing about private space, you can do whatever you want.

DR: It’s ridiculous isn’t it ? you find yourself cutting up things,

doing mundane things, sweeping the floor but it is the privacy

that matters. And it is a great place to start. For me, as a studiobased artist, I’m continuously making work. Lots of my artist

friends, my contemporaries, who I grew up around may work

towards one show at a time, but because I show internationally in different galleries I’m constantly working on many paintings

and drawings, from which I can extract and create an exhibition out of. Lots of other artists work in a much more thematic

way — they make a body of work which they want to show

together — I’m not really interested in that. I’m interested in

a slightly more old fashioned model of say Picasso or Matisse, where what you did you then took from to put into a show.

The narrative develops out of what you have chosen to show. So for me, it’s a very studio based activity and the core, the

hub, is an extension of the eyes and the brain embedded in the space and this need for privacy is very important. I have a great assistant who comes in once a fortnight and there is always

lots to be done, but she doesn’t help with any of the work. The

studio is a very special place. Imagine in the 1920s or 30s pilots

flying aeroplanes, how did they navigate? They were looking at

the stars, if they were flying at night for example, and it’s almost like flying at night in here, but I have little interest in where I’m going, I’m more interested in what I am doing.

ART.ZIP: How long do you spend at the studio? Do you

有一個閉路監控電視你會覺得我是一個慢慢地瘋掉的動物在沒完沒了地跳舞！

come everyday?

ART.ZIP: 這就是個人空間的意義，不是嗎？您想做甚麼就做甚麼。

DR: About five days a week, because having a family there is a

DR: 嗯，這是個很有趣的話題。你在這個空間進行創作、處理瑣事、

lot of sport chauffering to attend to! I have also always given up a day in the week when my three boys were younger to spend

掃地等等，這個空間的私密性是最重要的。

time with them.I research a lot, for example, last week I was in

從私密性開始關於工作室的討論再合適不過了。對於我這個以工作

Madrid looking at Goya’s Black Paintings. The eye is a muscle

們可能會圍繞某次展覽開展創作，但因為我在全球範圍內許多不同

Milan looking at the Rondinone Pieta, the week before I was in that needs to be trained. Books are great, they are far better than computers but there is nothing that actually replaces being in front of something and drawing from it, for me anyway.

What is a studio, is it a place for social interaction or is a place for private investigation? It’s interesting, isn’t it? I know lots of my

friends who work in new media only need a laptop and yet they still have a space to separate themselves from the rest of the

world. I often think, why don’t we swap! The work can be defined

by the nature of the space, it’s made in. For example, I can get an

eight-foot painting out through my door, that’s eight foot on one side and you must subconsciously relate to that. These paintings

室為重心的藝術家來說，我總在創作新作品。同年代的藝術家朋友的畫廊裡進行展覽，所以我需要不斷地進行創作並從中提取用於展

覽的作品。很多藝術家圍繞某個主題進行創作－－他們為了某個展

覽主題創作一系列特定作品－－我對這種創作方式不太感興趣。我喜歡像畢加索或馬蒂斯那樣的老派創作方式，以日常創作為基礎進

行各種展覽，而展覽的敘事是由你對作品的選擇決定的。所以對我來說，藝術實踐與工作室有著緊密的聯繫，工作室空間是眼睛與頭腦的延伸，因此對私密性的追求就變得格外重要。我有一個很棒的

助手，她每兩週來工作室工作一天，但她並不協助完成任何作品。工作室是一個非常獨特的空間。想像一下，上个世紀二三十年代的飛行員們他們是怎麼導航的？在夜間飛行的時候，他們需要察看星空，

其實在工作室中進行創作與這樣的飛行非常類似，但我對自己要去哪並不感興趣。我感興趣的是我自己要做些甚麼。

seven foot by six and they can get out — but I have done twenty foot long paintings before and they are made as triptychs — so

you do subconsciously react and build the work in a relationship to the studio size.

ART.ZIP: Do you think it is a good idea to live in the same building as your studio space?

DR: No. Not for me. Some people do. For me it is really important the idea of going to work and to separate all that I am as a father and as a member of society. Cycling here is also a way to free up

ART.ZIP: 每週有多少時間是在工作室中度過的呢？您每天都會來工作嗎？

DR: 我每週在工作室工作五天左右，要知道，家庭生活也需要大量的精力和時間！在我的三個兒子還小的時候，我需要保證每週最

起碼抽一天時間陪伴他們。我經常需要外出考察：舉例來說，上个

星期我在米蘭考察米開朗基羅(Mic h e lange lo)的《隆達尼尼聖殤（Rondinone Pieta）》，再之前我在馬德里考察歌雅（Francisco Goya）的黑畫系列(Black

Paintings)。眼睛是一塊需要鍛鍊的肌

肉。閱讀書籍很棒，比電腦要好很多，但是，對我來說，沒有任何東西能夠代替藝術品實物給予人的體驗。

all my concerns. The twenty-minute cycle here frees everything,

工作室是甚麼，是一個社交場所還是一個私人研究室？這很值得討

ago I started painting, I was fifteen and I am forty-six now, every

作，然而他們仍然需要一個空間與周遭世界相隔絕。我經常會想，我

all the emotional clutter that builds up, all the noise. Thirty years day still feels so fresh — I’m always starting with a completely

clean slate. For me, it is so important that there is that gap but I

know lots of people who prefer it the other way around. It’s just working out what suits you.

論。很多進行新媒體藝術創作的朋友在電腦上就能完成他們的工們換換該多好啊！作品也是由工作環境所決定的。舉例來說，我工作

室的門可以通過一幅最高八英尺的畫，自然地，在創作的時候你會

考慮到這個因素。工作室現有的這些畫作的尺寸是好一段時間內我創作過最大的作品，單幅尺寸為七乘六英尺。我也曾創作過二十英

Berlin, 2013, Mixed media on Triplewall 140 X 200 cm

are the biggest I have done for quite a while, the single panels are

ART.ZIP: How long do you spend in the studio each day? DR: Well I come in about 7.30am. I really do like the morning, so

尺長的三連張畫作。所以，作品大小確實在某程度上來說與工作室大小有關。

it is not a chore for me - I’m so lucky - this is what I love to do and

ART.ZIP: 您覺得就在同一個空間裡工作和生活是一個好主意嗎？

And then it’s time to go home. On other days, I may be teaching

DR : 不，對我來說這不是一個好主意。有人喜歡這樣做。但對我來

at U.C.A, Saint Martins or Bucks New University. I do about forty

會公民的身份。

so at 6 or 6.30pm I feel like I have only been here ten minutes!

post graduates at the Royal Academy Schools or undergraduates days teaching which is a nice balance otherwise I think there’s a

說，工作時需要脫離我作為一個父親的身份，脫離我作為一個社

tendency to become too self referential in your practice.

騎車來到工作室是一个放鬆的過程。從家出發，我需要騎二十分鐘自

While passing on your experience to the students, they are also

雜的情緒、所有的噪音。三十年前我開始繪畫，那時我十五歲，而如

passing it back, like what is interesting to them and reflecting on how society is changing and it’s relationship to ideas and social

concerns. You can’t get a better place for that than an art college.

An art college is always going to be where these things spark, but

行車來到工作室，而這二十分鐘的路程為我卸下所有瑣事、所有紛

今的我已經四十六歲了，但每一天仍然是這麼的新鮮，我總嘗試從

零開始創作。對我來說，生活與工作的分離很重要，然而我知道有人會喜歡另一種生活工作方式。只要自己樂意就行。

only if it’s a good art college!

ART.ZIP: 每天會在這工作多長時間？

For someone like me, who is termed a mid career artist, twenty

DR: 我每天早上七點三十分左右來到這裡，開始工作。我非常喜歡早

what interests me, is primarily solo shows. The experiences I

我在做我熱愛的工作，所以到了傍晚六點或六點三十分時，我感覺我

years after graduating from the Royal College of Art, for example,

晨，所以這對我來說一點也不讓人頭疼。相反地，我感到非常幸運，

Danny Rolph, Version 2014, acrylic on canvas, 100x330cm

have gained over the years in different countries creating these

只在這待了十分鐘而已！然而那時我就要結束一天的工作回家了。有

or ego, it’s just trying to find out more about yourself. The

生們授課，或是在創意產業學院（UCA），中央聖馬丁（CSM）或新白

exhibitions is interesting to me - and not for vanity reasons

opportunity of having exhibitions helps enable artists to find subtexts in their work. I mean, most of the time I am doing. I

paint instinctively - there is no plan and I am learning as I go

along - embedded in the activity. So once the opportunity of that solo show comes along you can start to reveal yourself back to yourself.

ART.ZIP: To develop the work and yourself.

的時候，我會在皇家美術學院（Royal Academy Schools）為碩士

金漢郡大學（Bucks New University）為本科生們授課。我每年進行四十天左右的教學，而這是一個很好的平衡，要不然我有可能會閉門造車。

在對學生們傳授經驗的時候，我也從學生們身上學到很多，我了解到他們覺得有趣的事情，他們眼中社會的改變，以及這改變與其他事物的聯繫等等。想要了解這些事情的話，沒有比藝術學院更好的地方了。只要這是一個不錯的藝術學院，其中就一定充滿了靈感的火花。

DR: That’s it. And you’re learning from you, which is interesting

對於我這樣的在二十年前畢業於皇家藝術學院（RCA）的中年藝術家

with a viewer in mind and am always conscious when talking to

覽的經驗是非常有意思的，這麼說不是因為自負或自我滿足，因為這樣

and then people reacting to it - the public. I’m always working

students that art is a three way dialogue between the artist, the

object and the viewer. If it is just the artist and the object then it is only therapy - you have to have this idea of the viewer - that

doesn’t mean you make the painting for the viewer, or the object, or the experience but you acknowledge that there is probably

going to be someone else looking at it at some point. So I always

來說，真正讓我感興趣的是個人展覽。這麼多年來，在世界各地進行展的經驗幫助我了解自己。展覽能夠幫助藝術家挖掘他作品中的潛在意義。大部分時間我都在創作。我出於本能地繪畫，我沒有計劃，而是在

創作中學習，而計劃就在這創作之中。所以，每个展覽都讓我得以更多地揭示和了解自己。

work with a viewer in mind, as opposed to, and I have seen it over

ART.ZIP: 去發展作品以及自己。

You have got to make work for a viewer, who may become a

DR: 沒錯。你從自我中學習，而公眾將對此做出反應。在創作的時候，

the years, artists who are making work for a particular collector. collector. Who knows?

The studio can to some artists act like an emblem – and reflect perceived status. When we think about Dutch painting in the

seventeenth century, say, painters like Rembrandt or Van Dyke,

were painting self portraits as young men, displaying their artistic skills, but they also showed, embedded in their clothes and other finery, their status in the society around them. They were for hire and they were doing well!

ART.ZIP: In China there are less galleries and so artists need their space to make a statement because they are dealing the work themselves. Here it is quite different because galleries do the

marketing and the promotion and the other stuff and so artists can focus on what they produce.

DR: It is very interesting, because of the relative newness of the situation and the sheer scale of China. From an outside

perspective you can see the possibilities being amazing, but also

a massive problem. You can’t just adopt artistic expression, it’s an organic thing that comes from birth and is metered out over a

我總在考慮觀眾，也總對學生們說，藝術是藝術家、作品與觀眾之間的三方對話。如果這個對話之中只有藝術家和作品，那這就只是藝術治療（用藝術為媒介來實行的一種輔助心理治療手段）。你必須要有觀眾的概念，這不意味著你必須為了觀眾、作品本身或某種藝術體驗

而繪畫，但你必須意識到除了你自己還會有甚麼人在甚麼時候看到你

的作品。所以我在創作中總在考慮觀眾，而不是像我在這些年來經常

看到的一些藝術家一樣，只考慮某位特定的收藏家。創作不能脫離觀眾，誰知道哪位觀眾日後就成為收藏家了呢？

工作室對於某些藝術家來說是个象徵，象徵著他的地位、身份。在十七世紀荷蘭繪畫中，倫勃朗（Rembrandt）與凡·戴克（Van Dyke）

等畫家經常通過繪製自畫像來展示自己的高超技藝，但他們同時也

通過服飾和珠寶展示自己的富有以及社會地位。他們為了錢而畫，可是他們畫得也相當好啊！

ART.ZIP: 中國沒有那麼大量的畫廊，所以自行進行作品交易的藝術

家們需要一個體面的工作室來展示他們的作品。英國的狀況很不一樣，畫廊完成了大部分的推廣與市場活動，藝術家得以專心於創作。

DR: 這一點很值得探討，尤其因為中國的藝術市場很大但又是相對新興發展起來的。從旁觀者看來，中國市場有著很好的發展前景，但同

period of time through doubt or failure. Wasn’t it Samuel Beckett who said “fail and fail better”.

Seen against a slightly existential European perspective, artists in China may believe that they have got this wonderful space,

時也存在着巨大的問題。你不能簡單地摹仿藝術表達形式，因為這些藝術表達形式從一開始就是一個個有機體，是經歷過漫長歷史的考

驗的。貝柯特（Samuel Beckett ）曾經說過： “失敗沒關係，下一次失敗得好看些。”

this wonderful situation and therefore must make wonderful

以一個存在主義式的歐洲視角來看，中國藝術家可能認為，因為他們

things according to prior expectation if it is not handled the

西來。這是一個大問題，如果不謹慎的話，藝術家將遇到挫折或創作

things. That can be a real problem. Artists will crumble or make right way. Of course there are great artists who go against that,

like Ai Weiwei, or I could give lots of examples of artists with an independent voice and whether you agree with the politics or

not is neither here nor there, but the independence of the artist is paramount. If an art dealer ever asked me, say, oh I like that

one but can you do it bigger or in blue, then that’s the end of

擁有很好的工作室空間、很好的創作條件所以他們必須做出很好的東出無趣的東西來。艾未未或其他一些獨立發聲的藝術家是一些很好的例子－－而是否同意他們的政治觀點不是我們要在這裡討論的－－藝

術家的獨立性才是最重要的。如果一個藝術經銷商對我說， “我喜歡

這件作品，但你能不能把它畫得再大點或者換成藍色？”那就完蛋了，無論這將對我造成多大的經濟影響，我都不會妥協。

it - however much that would effect me economically - that is

ART.ZIP: 每天花這麼長時間呆在工作室會不會覺得孤獨？還是說，

ART.ZIP: Does your time in studio make you feel isolated, or do

DR: 我從來不覺得孤單。我總在這裡聽唱片或電台。你可以看到我這

the end.

you want to be isolated?

DR: I never feel isolated. I always have music or the radio on. You can see I have lots of old vinyls , studio friends say I am stuck in the nineteen seventies and it is true!

I love the graphics as well, look at that Shalamar and Herbie

Hancock LP. So there is seventies and eighties stuff around because I used to be a DJ when I was younger, for about eight years.

There are so many references and games going on in the

work. I even think of some elements I use as coloured lenses. I am as much influenced by the graphic images on LPs as well as art historical figures such as de Kooning, Kandinsky, Larry

Pitman or Laura Owens and also the sheer visual dexterity of

您希望與別人保持距離？

兒有許多老唱片，隔壁工作室的藝術家總說我活在上个世紀70年代，我也這麼覺得！

我也非常喜歡唱片封面設計。我有很多70以及80年代的唱片，因為在年輕的時候我曾經做了8年DJ。唱片封面設計有許多對藝術的引用以

及幽默的圖像遊戲。它們對我的創作來說就像是某種濾鏡一樣。這

些唱片封面設計對我創作的影響並不亞於德·庫寧（de Kooning）、康定斯基（Kandinsky）、拉里·皮特曼（Larr y Pitman）、勞拉·歐文

斯（Laura Owens）或我的好友克里斯·奧菲利（Chris Ofili）對我的

影響。我不覺得我是一個抽象畫畫家，儘管這些畫作經常被放置於

這樣的一個討論之中去，這些只是繪畫而已。我比較贊同作家馬丁· 霍爾曼（Martin

Holman）對我的畫的描述，他說得很簡單，他說我

的畫就是抽象的再現，也許這與康定斯基的影響有關，看著是有種似曾相識的感覺。

someone like Chris Ofili who is a good friend. I don’t see myself

因為在工作室里我經常會聽電台或唱片，所以我從來不覺得孤獨。我

happen to end up in a space that is termed that, but these

作模式中去。我想要自己不斷地去試驗來發掘新的東西。就像今天

as an abstract painter, interestingly these are paintings that are just paintings. The writer Martin Holman described it in

a very simple way, but I think a very good way – stating that

my paintings are representations of abstraction, perhaps that relates to what you were saying about Kandinsky - there is a

需要有些事情轉移我的注意力，不然我很可能會陷入一個死板的創

早上我先用這支筆畫了些草圖，然後再用水彩描繪，之後還有一些拼貼。我從不覺得孤單，我有音樂，還有隔壁工作室的朋友們，我們經常一起去喝咖啡或吃午餐，這裡是一個可以進行互相交流的地方。

sense of the familiar.

So I never feel isolated because there is this hum, whether it is the radio or music and I need that constant distraction so I don’t get into a regular pattern. I constantly want to see and reveal things

Tips

小貼示

to myself, like even this morning I just started with this with pen

and then with watercolours and then a bit of collage. I never feel

isolated because I have music and I have friends in the studio - so we go for a coffee or go for lunch – it’s sociable situation.

www.d a n n yrolp h .com www.ba rba ra d a v i s ga lle r y.com

A SYMBOL OF IDENTITY

INTERVIEW WITH FINE ART STUDENT SUN YI

身份認同

採訪藝術生孫毅

TRANSLATED BY 翻譯 x SYNDI HUANG 黃煥欣

Most British art colleges provide studio space for their fine arts

students to cope with their creative learning and practice. Compared with other types of studios, what is the relationship between arts

students’ studios and their creation, and what are those students’

opinions towards the relationship among studio space, studies and arts creativity? To find out an answer, we have an interviewed with Sun Yi, a MA Fine Art student from Slade School of Fine Art to talk about student studio space in UK arts colleges.

英國的藝術院校大多為純藝術專業的學生提供了供他們創作和學習

的工作室空間，與其他類型的藝術工作室相比，藝術類學生的工作室和他們的創作之間有什麼樣的關係，他們又是怎樣來看待工作室

和學習生活及藝術探索之間的關係的呢？為此，我們特地採訪了斯

萊德藝術學校純藝術專業研究生孫毅，讓他來給我們講一講英國藝術院校學生工作室的情況。

ART.ZIP: Would you please tell us how arts colleges, such as Slade School of Fine Art, allocate studios for the students?

SY: I am not sure about other art colleges, but for my college, students are requested to attend a welcome meeting at the

beginning of the semester where teachers will hand out to each

student a studio space plan from which students can pick an area

that they like. While some students may choose the same area they want, they need to sort out the space by themselves and teachers

would not interfere. The students’ choose for space is based on the forms and needs of their creativity, for instance, for those students who tend to create larger scales of artworks, they will choose

relatively higher ceiling space, whilst some students prefer space ART.ZIP: 可不可以給我們介紹一下，像斯萊德這樣的藝術院校是怎麼給學生分配工作室的呢？

SY: 別的學校怎麼分配我不是很清楚，斯萊德的分配方式是這樣：在學期開始的時候，我們有一個歡迎會，會上老師會給每個同學發

一個工作室空間的平面圖，由同學們自己來選擇喜歡的區域和位置，有些時候同一塊工作室空間可能會有幾個同學同時都看中的情況，這種情況下一般都是學生自己私下進行調劑，老師不太干涉。

大家選擇工作室空間也都是根據自己的創作形式和工作需要來選擇空間，比如創作比較大尺幅繪畫的同學，會選擇挑高比較高的牆

面空間，也有的喜歡光線好的地方，我的作品尺幅都不大，所以我選的工作室空間就比較小。

ART.ZIP: 那同學們都是怎麼使用他們的空間的呢？會在工作室裡做些什麼？你覺得這邊的學生工作室和國內的有什麼不同呢？

SY: 大部份同學在工作室里是一種生活狀態和工作狀態混雜的形式，看書、聽音樂、聊天、喝咖啡、畫畫、睡覺，幹什麼的都有，這點和國內的藝術院校工作室區別不是很大。說到區別的話，一方面英國院校

with great natural light. For myself, I have chosen a relatively small space, as my works are in comparatively smaller sizes.

ART.ZIP: How do students make use of their allocated space?

What do you think the difference between arts studios in the UK and those in the mainland China?

SY: The studios for majority of students in the UK are a state of

living and working that are combined together, where they read, chat, paint, sleep, listen to music, and have coffee, etc., which is similar to that of China’s student art studios. With regard to the

difference, there are not many students in the UK majoring in fine art paintings and many of them will go to try a variety of other art forms, such as printmaking, installation and sculpture, etc.

And the students are from different countries, speaking different languages, which enrich the diversity of cultures and creativity.

This learning and working environment in the UK arts colleges is very much different from that in the mainland China.

ART.ZIP: In terms of your personal learning and creativity, what is the relationship between you and the school studio space? SY: Personally, the school studio space is not particularly

significant to me, because on the one hand, I do relatively smaller

里學生從事繪畫的人並不是很多，很多同學也會去各種工作坊車間嘗

in need of a particular studio space to engage in. The studios

同的語言，在創作和文化的多樣性上非常豐富；這種學習和工作環境

artworks, and on the other hand, my creation is not necessarily that the school provides for students are merely passive space allocated for students in a temporary period of time. And the

school’s activity arrangement such as exhibitions and summer

short courses often affects our use of the studio space. Therefore, I don’t really like the studio space that the school has offered. It is

試版畫、裝置、雕塑等創作方式，而且同學們都來自不同國家，說不與中國院校的學生工作室有很大不同。

A R T. ZIP: 那對你個人的學習和創作來說，學校的工作室和你之間的關係是怎麼樣的呢？

only in the case I have a clear work plan and objective that I will

S Y：對於我自己來說，學校的工作室空間並不是特別重要，我的作

or do paintings at home. The studio for me is just a symbol of

作。學校提供給學生的工作室在屬性上對學生來說是一個很被動的

go there, otherwise I prefer to go to the library or café for reading, identity as an art student hence assigned with a specific space. ART.ZIP: Do you have any ideal studio space in your mind? SY: It has to come with a large table where I can practice

calligraphy and ink painting, since in the past I have been

receiving training in these two areas, and they have become an

品都不大，而且我關注的方向也並不一定需要工作室才能進行創空間，是一個臨時性的，被分配的空間，而且學校的很多安排比如展覽和暑假短期課程都會影響到我們使用工作室空間，所以我並不是非常喜歡學校提供的工作室，我一般是有了明確的工作計劃和目

標的前提下才會去工作室創作，除此之外，我更願意去圖書館或者咖啡廳看看書，或者在家裡畫畫。工作室對我來說，就是一個身份的符號─ ─我是一個藝術類學生，所以被分配了一個工作室空間。

indispensable part of my life. But this does not count into the space

ART.ZIP: 你心目中有沒有一個比較理想化的工作室空間的構想？

be a place for drinking tea, preferably with a small bed where I

S Y：要有一個大的畫案，能畫畫水墨畫和練練書法，因為以前一直

like open space with the possibilities of various creativity and

間，算是休閒空間，另外還有喝茶的地方，最好還有一張小床，累了

of art practice, but for leisure and fun only. Besides, there should

can lie down whenever feeling tired. Ideally the studio is a factoryexperiment, which may be in a cluttered condition, nevertheless, I don’t mind it shows the sign of life in the studio, but the areas for work, relax and living should be accordingly divided.

接受這方面的訓練，很難割捨，不過這個區域不算是藝術創作的空可以躺一下。工作的空間希望是一個工廠似的開闊空間，可以進行

各種創作和實驗，可能會比較雜亂，我並不介意在工作室裡流露出生活的痕跡，但會分割出來創作用的空間、休息空間和生活空間。

ARTIST STUDIO OPERATORS 藝術家工作室運營者

In London there are a variety of companies and organizations providing artists studio spaces, many of them are non-profit

organizations, some are funded by artists, and others receive supports from charities or foundations. Here are some well-known ones for reference.

在倫敦有很多專門為藝術家和藝術機構提供工作室空間的公司和機構，他們大多是非營利性的民間機構，有的是由藝術家出資籌建的，也有的是基於各種慈善性質的基金會支持，我們為大家選取了一些比較有特色的公司和組織，希望能對有興趣和需要的同仁有所助益。

SPACE

空間

SPACE is a leading visual arts organization providing

“ 空間”是一個一流的視覺藝術組織，為創意產業從業

innovation. Established by artists in 1968, SPACE runs

成立了“ 空間”藝術組織，共同管理著分佈在倫敦7個自

creative workspace, advocacy, support and promoting 17 artist studio buildings across 7 London boroughs,

providing affordable creative workspace plus support

programmes, such as exhibitions, artists residencies and

training opportunities, to enable artists to be sustainable. SPACE also delivers Learning and Participation

projects for schools, young people and communities neighbouring SPACE studio sites, to promote

engagement with creativity and the arts. SPACE supports 700 artists with studios and a further 700 a year with

professional development. Additionally, SPACE engages

治市中的17棟藝術家工作室建築，為藝術家提供價格低

廉的工作室空間，同時也舉辦各種活動來支持藝術家創

作，例如舉辦展覽、藝術家進駐項目和技能培訓等。 “ 空間 ”藝術組織也為學校和年輕人組織各類學習和互動項目來促進藝術和創意項目的發展。現在“ 空間 ”藝術組織為70 0 位藝術家提供工作室空間，為14 0 0人提供專業發展支持，每年參與其組織的公眾項目的人數約為 15000人次。

15,000 people a year through public programmes.

spacestudios.org.uk

Euroart

歐藝工作室

Euroart is a North London artist led art studio group

歐藝工作室是在倫敦北部一家優秀的由藝術家為主導的

to artists, makers and creative practitioners. Euroart

空間，同時它致力於將當代藝術實踐帶入到當地社區之

providing affordable studios and workspaces for rent is committed to bringing contemporary art practice to the local community. Through self-funding and/ or grants, they deliver activities enabling people to

participate in artistic and creative experiences, which

can have transforming and lasting benefits. The current 70 workspaces have the potential to host up to 80

fine artists, makers and creative businesses. Euroart is a self-funded, not-for-profit, company limited by

人員提供工作空間和各類支持。一群藝術家在 1 9 6 8 年

工作室空間，為創意產業從業者提供租金合理的工作室中，通過自籌或者捐贈的方式，藝術家們將人們帶入到藝

術創作的體驗之中，這種體驗可以轉化為對公眾和社區持久且有益的影響。目前歐藝工作室共有70 個工作室空

間，進駐了8 0 位藝術家和各種創意產業從業者。歐藝工作室是一個有藝術家組建并自負盈虧的非盈利工作室空間，不受惠于各類資助基金。

guarantee. They are not recipient of any core funding.

www.euroart.co.uk

Artistic Spaces

藝術的空間

Artistic Spaces is a small company founded by

“藝術的空間”是英國中央聖馬丁兩位畢業生創建的小

Artistic Spaces has spaces available to creatives at

理的工作空間，從創建開始，這家工作室公司的戰線已經

two Central St Martins graduates. Formed in 2010 affordable rates without the long and sometimes

costly contracts associated with most commercial space, since its beginnings, the company has expanded from its origins in Brockley, near

Goldsmiths University, to Hackney in East London

and throughout the Bermondsey area in South East London. They currently have over 60 studios.

型公司，從2010年成立開始便為藝術從業者提供價格合

從金史密斯學院附近的布洛柯里（Brockley）地區擴展

到東倫敦的哈克尼（Hack ne y）地區和倫敦東南部的柏

蒙西（B er monds e y）地區。目前他們管理著超過6 0 間藝術家工作室。

artistic-spaces.co.uk

Association for Cultural Advancement through Visual Art (ACAVA) ACAVA was established in 1983 to support the development and practice of the visual arts. It

provides studios for over 500 artists in 20 buildings

mostly in London, technical facilities and training, and

視覺藝術促進文化發展聯合會（ AC AVA ）

AC AVA 成立於1 9 8 3 年，以支持視覺藝術的發展和實踐

為己任。目前它管理著20座工作室大樓，大部份位於倫敦，這裡進駐了超過 5 0 0 位藝術家，AC AVA 為他們提供各類設施、技術保障及培訓，同時也提供各種專業發展機會。

continuing professional development opportunities.

AC AVA是一家教育慈善機構，其開發並提供廣泛的教育

ACAVA is an educational charity. It develops and

與學校和大學的互動來為學生提供工作經驗和促進其

delivers a wide range of educational initiatives,

aiming to promote the development of visual skills in relation to school and university curricula and

beyond, to provide work experience and promote career development. To meet these aims ACAVA

活動，旨在促進和發展視覺藝術技藝的發展，尤其重視職業發展。為了達成 AC AVA 的目標，它為視覺藝術提供

全方位的服務，包括為專業藝術家提供工作室及配套設

施；組織展覽；開發公共藝術和社區教育項目；數碼科技技能培訓及各類諮詢服務。

provides a comprehensive range of visual arts services, including the provision of studios and other facilities for professional artists, the mounting of exhibitions, the development of public art and community

educational projects, training in the use of digital

technology and a consultancy service.

www.acava.org

Acme Studios

A cme工作室

Acme Studios is a London-based charity, formed by

Acme 工作室是倫敦的一家慈善組織。197 2年，一群藝

fine art practice by providing artists with affordable

過為藝術家提供實惠的工作室和居住空間的方式來支

artists in 1972, which supports the development of studio and living space. Acme supports over 600

artists and manages 546 studios in 14 buildings in

Greater London, runs work/live and studio residency schemes and manages an international residencies programme for visiting artists. Acme is recognised

as the leading studio development organisation in

England and has helped more than 5,000 artists with this fundamental means of support. Acme currently

receives funding as an Arts Council England National Portfolio Organisation (NPO), but will be financially self-sustaining without the future requirement for public funding after March 2015.

術家一起創辦了這個機構，從那時起，該組織就開始通持他們的藝術實踐并促進藝術發展。Acme現在為超過 6 0 0 位藝術家提供工作室，其管理著大倫敦地區內14 棟工作室大樓，共546間工作室；同時他們還管理運營著若

干工作/居住混用空間和各類國際藝術家進駐及訪問項

目。Acme被視為英格蘭地區藝術家工作室管理和開發的

典範，至今已經幫助和支持了超過5000位藝術家。Acme

目前是受到英格蘭藝術委員會的資金扶持的，但從2015 年3月開始，其將以自負盈虧的方式進行運營，從那時起 Acme將不再獲得公共扶持基金的資助。

www.acme.org.uk

4 6

Artist Studio Company(ASC)

藝術家工作室公司（ A SC）

Founded in 1995, ASC is a registered charity that exists

A SC成立於19 95 年，是一家註冊慈善機構，其主要宗旨

public in the arts and promote the arts. In furtherance

的發展，為了達成這些目標，他們為藝術家提供價格合

to support visual and performing artists, educate the

to these aims: they are a leading provider of affordable studio space to visual artists and currently provide workspace to over 700 practitioners across 11

sites; offer ‘affordable’ office space to charitable and not for profit arts organisations; run an educational

program and support good cause cultural activities

through participation in their delivery; provide a free

是為視覺和表演藝術家提供支持，推廣藝術在大眾層面理的工作室，當下有超過70 0 位藝術家進駐在他們管理

的11處工作室建築當中，此外他們還為公益性質的藝術機構提供價格低廉的辦公室；組織教育和支持項目來推動優秀的文化項目；為非盈利藝術組織提供免費諮詢服

務；在倫敦薩瑟克地區（S o u t hw ar k ）運營公共畫廊空間“ASC畫廊”。

advisory service to charitable and not for profit arts organisations on all property matters; run a public gallery, ‘The ASC Gallery’, in Southwark.

www.ascstudios.co.uk

7 9

Bow Arts Studios

彩虹藝術工作室

Bow Arts Studios is the artist studio provider for

彩虹藝術工作室是為新興藝術家提供工作室的機構。

economies of recent graduates and artists at the early

藝術生涯初始階段窘迫的經濟條件，彩虹工作室為這

emerging artists. They recognise both the needs and

stages of their careers and reflect this in the provision of their artist studios and LiveWork accommodation. They also offer opportunities to artists through their employment of artist educators and

opportunities to exhibit, showcase their work and

engage with other professionals. They have a solid 15 year track record of providing affordable workspace for a wide range of visual artists and creative

practitioners. They currently manage over 100,000

sq ft of artist studios and LiveWork accommodation for approximately 400 artists, in over 250 studios in

考慮到年輕畢業生和藝術家對工作室的需求及他們在

些年輕人提供工作室空間以及工作生活混用的空間。除

此以外，他們還為藝術家提供就業、展覽機會，并組織各類活動來展示藝術家的作品并為藝術家和從事其他

行業的專業人士提供交流的平台。15年來，他們為各類創意產業從業者提供了工作空間，現在他們管理著超過

10 0 0 0 平方米的工作室空間，為將近4 0 0 位藝術家提供住宿和創作空間，其中在倫敦東部和東南部的4座建築

里分佈著超過 250間藝術家工作室；在倫敦東部已經成

為“藝術心臟 ”的區域也有8處超過70 間工作生活混用的公寓。

four sites in East and South East London, they also

manage over 70 LiveWork flats across 8 sites in east London, in the heart of what is becoming London’s Artist Quarter.

www.bowarts.org

Second Floor Studios & Arts (SFSA)

二樓藝術家工作室(SFS A)

SFSA is a London-based social enterprise company

SFSA是一家位於倫敦的社區企業和會員制組織，支持視

development of visual and fine art practice and

價格合理的工作室空間。目前他們有超過350位會員，包

and membership organisation that supports the

craft and designer making by providing affordable

studios and workshop spaces to its members. They

currently have a membership of over 350 artists, craft

makers and designers ranging from recent graduates, emerging artists and makers to long established

practitioners. Founded by Matthew Wood in 1997,

覺藝術、手工業和設計產業的發展與實踐，為會員提供括藝術家、手工藝者和設計師，他們中既有剛剛畢業的

學生，也有正在蓬勃發展的新星，還有很多資深的從業者。SFSA由馬修·伍德（Matthew

Wood）于1997年創

立，其形成的初衷便是因為馬修·伍德個人經歷 ─ ─ 在倫敦東南尋找合理價位工作室過程中的種種糾結。

SFSA was established as a direct response from

personal struggles to find affordable studio space

locally in South East London.

www.secondfloor.co.uk

Wimbledon Art Studios

溫布爾頓藝術工作室

Wimbledon Art Studios is a unique creative community

溫布爾頓藝術工作室是一家位於倫敦西南部的獨特的創

individual studios providing a professionally managed

240位藝術家，它是單獨工作室建築中最大的一個。

based in South West London consisting of 227

creative environment for over 240 artists. It is one of the

意社區，其中包括227個獨立的工作室空間，進駐了超過

largest single site art studio complexes in Britain.

在這裡有兩座定製的藝術家工作室大樓，分別是紅色工

Their bespoke art studio complex comprises of two

改建為紅樓工作室，最初是 6 位藝術家在這裡進駐。現

separate buildings known as the Red Studios & Blue

Studios. The Red Studios was established in 1993 within a working paper warehouse and initially opened with 6 artists renting studio space alongside the paper

作室大樓和藍色工作室大樓。1993年，一棟紙張倉庫被在，這座由倉庫改建建築提供了跨越 3個樓層，173間大

小形狀各異的工作室空間；藍樓工作室建於2007年，是專門設計的藝術家工作室建築，共4層，提供54間工作室。

business. Today, the specifically altered warehouse spans three floors providing 173 individual studio

spaces of various shapes and sizes; The Blue Studios

was purposely built in 2007 specifically as art studios. It

spans four floors, providing 54 studio spaces.

www.wimbledonartstudios.co.uk

Great Western Studios

西倫敦工作室

Great Western Studios is a place for the creative

西倫敦工作室是一處創意產業蓬勃發展的地方。這裡有

environment, where individuals and small businesses

這裡交流、合作和發展。這裡的工作室空間和設施都充

industries to flourish. It is an inspirational work can meet, network and grow.

They offer purpose-designed spaces, facilities and the

一個令人鼓舞的工作環境，很多個人和小型企業可以在滿設計感，營造了一個令人興奮的工作空間，其中共有 104間工作室。

atmosphere and expertise that make working within the building a stimulating and exciting opportunity. The building is made up of 104 studios.

www.greatwesternstudios.com

WUNDERKAMMER INTERVIEW WITH CO-FOUNDER OF EUROART STUDIOS LORRAINE CLARKE

珍寶陳列室

專訪歐藝術工作室聯合創辦人、藝術家羅琳·克拉克 TRANSLATED BY 翻譯 x HARRY LIU 劉競晨 PHOTOGRAPHED BY 攝影 x SYNDI HUANG 黃煥欣 IMAGE COURTESY OF 圖片提供 x LORRAINE CLARKE 羅琳·克拉克

Lorraine Clarke (ARBS) is a London based artist whose work

羅琳·克拉克在倫敦生活和工作，她的作品多是表現了其對人類身

the tremendous impact of biotechnology to the awesome

類令人歎為觀止的複雜靈魂都深深地吸引著她；她于2002年與奈傑

expresses a burgeoning interest in the human body, from complexity of the psyche.

She (co)-founded Euroart Studios (with Nigel Young) in 2002

where she develops her art practice alongside her responsibilities as art director.

Unlike other interviewed artist, Clarke has a double identity, an

artist and the owner of Euroart Studios. Would Clarke’s own artist experience make her better understand what artists need and

then create a Utopia for them? At the same time, as a ‘landlord’,

she has to balance the business risk and return. As an artist as well as a ‘landlord’, what is her story with artist studios?

心的極大興趣和好奇，無論是生物科技對人類的巨大影響，或是人

爾·揚（Nigel Young）一起創辦了歐藝工作室，從那時起她便開始扮演藝術家和工作室運營商的雙重身份。

與其他的受訪人有所不同，克拉克的身份有些特殊，她是一位藝術

家，但同時她也是倫敦歐藝藝術家工作室（Euroar t）的運營者，這種藝術家外加“房東 ”的特殊身份讓我們感到非常有意思。因為自己的藝術實踐和創作，克拉克能更好地了解藝術家所需要空間的屬

性，這讓她可以真正打造一個設身處地為藝術家提供便利的創作空

間；但同時作為一個“房東”，她又要考慮各種商業風險和成本回報之間的平衡，為此我們也特地採訪了她，讓她來給我們講一講她與工作室的故事。

Studio, Personal Museum, Cabinet of Curiosites, Library ART.ZIP: You yourself are an artist, how is your normal day in the studio?

LC: Owing to my enduring fascination with the “human

condition”, my work, taking multiple forms from large installations

工作室、個人博物館、好奇心的盒子、文獻庫 ART.ZIP: 作為一名藝術家，每天在工作室裡都是怎樣度過的呢？ LC: 因為一直以來我都對“人類的處境”非常著迷，我的作品有很多形

式，既有大型的裝置作品也有非常精緻的小巧作品。我所選用的那些

天然或是人造的物品、動畫或者聲音都是和人類的生活息息相關的，這些材質都和我們人類的歷史、宗教、醫療等方方面面有著聯繫。

to small finely crafted collections, incorporating found and made

平均來說，我每天會在工作室裡呆上差不多10 個小時。工作室對我

ancient rites and traditions, belief systems, religion, anthropology,

圍繞我的這些物件兒和材料都是我珍愛的“ 財寶”。我的創作過程

objects, animation and sound, is infused with research into aspects of the medical world.

On average I spend up to ten hours a day in my studio. My studio is my personal museum, my “cabinet of curiosities”,

來說就像是一個私人博物館，是一個“承載我好奇心的盒子”，這裡就是將那些本來被視作支離破碎的“廢物”轉化成全新的、陌生的、

奇怪的，但卻是似曾相識的、承載著沉靜思考的作品，我要讓觀眾來反思“人”的本源概念到底是什麼。

where I surround myself with objects and materials that I

同時，這裡也是我的文獻倉庫，在閱讀、研究和沉思的時候時間彷彿

transforming materials - often regarded as detritus, into objects

方，有時候我也會寫寫詩。

consider to be exquisite treasures. Through my creative process, of contemplation, new and strange, yet somehow familiar, I

challenge the viewer to reflect upon what it is to be human. It is also my “library” where time ceases to have definition while reading, researching and contemplating – and a place where I

draw inspiration to develop concepts and ideas for my artwork and write poetry.

就失去了意義；工作室也是我獲得靈感、發展自己觀念和想法的地

Wunderkammer

珍寶陳列室

ART.ZIP: Could you use a word or a sentence to conclude the

ART.ZIP: 您能不能用一句話或者一個詞來概括一下你和工作室之

LC: My studio is the Wunderkammer which embellishes my

LC: 我的工作室就是一個“珍寶陳列室”，是將我的幻想物質化的體

zoology, folklore, science, medicine and magic, while referencing

合的物品，就好像是古代魔盒裡面藏匿的東西，光怪陸離、神秘莫

relationship between you and the studio?

imagination, where shelf upon shelf fuses classical mythology,

the bizarre, mystical and mysterious objects once concealed in

the ancient cabinets of curiosities. The line between the real and

間的關係？

現，書架上和陳列櫃上滿是將古典神話、民俗、科學、醫學和魔術融測。在真實和夢幻之間的區域便是我創作的空間。

invented is the space where I create my artwork.

我的工作室就是一個我想像力所描述的世界，一個基於過往、當下

My studio is my world of imagination and narrative, a new version

還有生物科技帶來的奇蹟。

of reality drawing on the past, present and future- on hidden

和未來而描繪的新的現實─ ─交雜著關於藝術、自然、爭論、奇觀、

infinities and the desire to interlace art and nature, and the controversies, marvels and miracles of biotechnology.

Start-up of Euroart Studio ART.ZIP: When and how did you start running the studio business?

LC: The name Euroart came into existence in 1996 whilst living in Rome when we (Nigel & I) created a website to showcase my work and that of other artists we knew locally in Rome.

歐藝工作室的創立 ART.ZIP: 您是什麼時候怎麼開始運營藝術家工作室生意的呢？ LC:“ 歐藝”工作室的名字來自於1996年我和奈傑爾生活在羅馬時創

建的一個網站，我們在網站上展示自己和其他一些我們認識的羅馬藝術家的作品，網站的人氣逐漸聚集而且受歡迎程度也越來越高，幾年後我們也開始展示其他地區的藝術家，比如意大利、法國甚至是日本。2000年我們定居倫敦以後，我們停止了那個網站的運營。

Its popularity quickly spread and in a couple of years we also

在弗羅倫薩基金會做了一年藝術家進駐項目以後，我開始想在倫敦

Japan. The website was taken-down when we relocated to

昂貴，而且條件很差，要麼很髒亂，要麼就是處於治安很差的區域。

presented artists from other regions in Italy, France and even London in 2000.

After a one year residency at the Florence Trust Studios, I set about searching for a studio to rent and discovered that they were either extremely expensive, pretty run down and dirty or located in

unsafe areas. I did rent one for six months, situated on an industrial

租一個工作室空間，但很快我發現倫敦的藝術家工作室租金出奇地我當時確實在哈克尼地區租了一間工作室，為期半年，那是一個工業區。我在工作室裡創作的時候一般不會考慮時間的限制，但那個廠

區在下午5點以後所有的工人都下班離開了，整個區域就變成了一群

熊孩子們的遊樂場，在夜深人靜的時候我還要摸黑去車站趕火車回家，這讓我覺得非常的不安全。

site in Hackney Wick. I like to work in my studio without time

在沒法找到滿意的工作室條件的情況下，我們決定要打造一個自己

site left at 5:00pm, in those days the site became a playground for

安全的工作室。我們於2002年在北倫敦建立了第一處歐藝工作室，

restrictions, however, after the workers of the other businesses on groups of youths and I didn’t feel safe venturing out late at night into the dark in this environment to catch the train home.

Not finding this situation satisfactory we decided to create our own ‘self funded’ studios – providing the levels of services, cleanliness and safety I desired. The “first” Euroart Studios

(continuing the name legacy from the Roman website) was

established in 2002 in an old rag trade factory on an industrial

site in London N17 two doors from Tottenham Hotspur Football Club. In 2009 Tottenham Hotspur purchased the site from the

owners and summarily gave us notice to quit. Notwithstanding

籌款建設的工作室，一個能夠提供讓我滿意的服務、環境清潔並且

就在托特納姆熱刺足球俱樂部旁邊，在一片工業區裡面。20 09年，熱刺足球俱樂部從房東那裡買下了我們的工作室，我們不得不搬離

那座建築，雖然我們為了那個空間投入了所有的資金和無數的辛苦工作，但我們還是失去了它，我們失去了一切。但不管怎樣，我們並沒有被熱刺興建新球場而驅逐我們的事情而打倒，就像鳳凰涅槃一

樣，我們只用了八週的時間，就在現在的地方重建了新的工作室，付出的是大量的工作，我們把自己的積蓄都投入到這裡，僱傭了很多工

人，改造這裡的一切，建立了34間新工作室，安置了從原來工作室搬

出來的藝術家。2011年8月，我們又創建了一個新的工作室空間，建設了36間新的工作室。目前這個區域我們一共有70間工作室，大約 80位藝術家在這裡工作。

all the money and hard work we had put into the venture, we

Having a full-time professional management team which

ashes of despair brought about by Tottenham Hotspur’s plans

us an edge over other studio renting companies.

lost everything. Nonetheless, rising like a Phoenix from the

for a new stadium, with hard graft (bank loans and more of our

includes a practising professional artist based in the studios, gives

own money) we leased two warehouse units here at Gaunson

A further distinction is that many companies simply operate as

workspaces and relocated 30 artists/creative businesses from the

a “community” – a most challenging endeavour of which I

House, hired a lot of workers, gutted everything, built 34 new

N17 site – all in eight weeks! In August 2011 a third warehouse unit was leased and an additional 36 workspaces created. The

current 70 workspaces regularly host some 80 fine artists, makers and creative businesses.

North London’s Biggest Artist Led Studio Group ART.ZIP: Would you tell us more about the Euroart Studios?

Does it differ from other studio renting companies in any way? LC: It is my opinion that studio organisations in the UK fall into

a renting company/landlord, whilst others attempt to create believe Euroart is being successful. We strive constantly to

make connections to galleries and collectors for the benefit

of the community as a whole. We work relentlessly to being North London’s premier location for the purchase of quality contemporary art!

Apart from the numerous benefits imparted to the resident artists (as mentioned above), Euroart further distinguishes itself from

ART.ZIP: 能不能給我們多介紹一些關於歐藝工作室的情況？和其他工作室供應商相比有什麼不一樣呢？

one of two categories – those that receive regular and significant

LC: 我覺得現在英國的藝術家工作室供應商分為兩大類：一類是定

those that do not – which is the case with Euroart. Euroart is a

資助的，歐藝就是後者。歐藝就是一個自籌資金，非盈利公司，我

local authority or Arts Council England financial support and

self-funded, not-for-profit, company limited by guarantee. We are not recipient of any external funding.

In this business, there is a fine balance to be achieved between

‘affordability’ – necessary to keep the studios fully occupied and the business sustainable, and ‘quality of work’ – to encourage

visitors to return each year to the annual open studios event. Risk

i.e. how much of it you choose to accept, plays a great part in this delicate trade-off. Obviously, if you are lucky to be the recipient of regular external financial support your risks are lower than

期受到來自地方政府或者英國藝術委員會資金資助，另一類是不受們沒有任何外來的資金支持。

作為工作室運營者，能夠保證工作室的正常運轉同時保持租金的足夠低廉是一個很不容易的工作，我們必須保證工作室的出租率為 100％，同時我們還要保證這裡藝術家的作品質量，能吸引人們每年

在工作室開放日的時候能來參與我們的活動。對於風險的掌控一直

是工作室生意當中重要的一部份，我們要不斷地權衡各種微妙的因素。當然了，要是你能幸運地得到外來的資金支持，那麼你的風險自然就低多了。

without such support.

我們現在是北倫敦最大的，由藝術家管理和引領的藝術家工作室群

We are now North London’s largest “artist led” art studio

術家提供各種展示的機會，偶爾也會和當地的組織合作，為我們的

group providing affordable studios and workspaces for rent to artists, makers and creative practitioners. We promote

the work of our residents and often source opportunities for them. Occasionally, we initiate projects with local

organisations, bringing paid work to our resident creative practitioners. We also provide various business support

services, i.e. organisation of open studios events, artistic

mentoring, business mentoring and provision of information

體，我們為創意產業從業者提供價格便宜的工作空間，我們也為藝藝術家招攬生意，此外我們也提供各類的商業支持服務，比如工作

室開放日活動，藝術指導和業務資訊等等。藝術家聚集的另一個優勢就是同行之間的借鑑和鞭策，同時也有更多協同工作的機會。歐藝也提供志願者活動的工作和實踐機會。

相比其他工作室，我們的另一個優勢就是這裡有全職的專業藝術家和管理團隊來服務於大家解決各類問題。

on business and network opportunities. Another consequence

除此以外，很多工作室供應商只是作為一個“地主”或者“收租者”

‘peer critique’ and ‘collaborative work’. Euroart also provides

有挑戰的努力，我相信歐藝在建造“社區”的方面非常成功。我們通

of this ‘cluster’ of creative practitioners, are opportunities for work experience opportunities to the volunteer sector.

而存在，也有一些則在試圖打造一個藝術的“社區”，這是一個非常

過不懈地努力與收藏家、畫廊建立聯繫，為的是能為我們整個團體

other studio renting companies through a number of practices. Among which there’s one being worth mentioning that we

operate a selection process and usually 80% plus of our residents

和社區發展謀得利益，我們不遺餘力地要把這裡打造成為北倫敦購買當代藝術作品的首選之地。

are fine arts graduates. However, we are not elitist to any genre

除了剛才提到的那些我們對進駐藝術家的便利條件以外，值得一提

and non-art graduates showing commitment and promise to

駐藝術家是純藝術專業的畢業生，不過我們對藝術家創作的風格和

or style of work and do reserve some workspaces for students developing their work.

ART.ZIP: Are there any new plans in the coming years?

的是，我們有一套對進駐藝術家甄選的程序，在這裡8 0％以上的進

工作方式並沒有限制，而且我們還保留了一些工作室給在校學生和非藝術專業畢業生來使用并幫助他們來做宣傳，讓這些人也可以不斷地發展他們的作品。

LC: In the last few years we have provided business

ART.ZIP: 在未來的今年有沒有什麼新的計劃？

mentoring and business workshops.

LC: 過去的幾年裡，我們一直在為藝術家們提供商業上的支持，比如

support – like card payment facilities and organised

We believe our ‘modus operandi’ has influenced a number of the

resident artists to approach their work in a more business like mindset. This year we started an outreach project to link up and collaborate

提供銀行卡支付系統、組織與商業運作相關的工作坊和研討會。

我想我們的工作已經初步取得了成效，有一些藝術家已經開始在工作的同時更多地想到如何對自己的作品進行商業運營了。

with other European studio organisations: who knows, maybe in

今年我們開始了一個外聯的項目，來與其他歐洲的藝術家工作室進

and we look forward to what we can accomplish.

人興奮的冒險，我想我們可以做到的。

time we could extend beyond Europe. This is an exciting venture

行合作，說不定過幾年以後，我們的業務會延伸到歐洲，這是一個令

Right: Soft Toy Tribute [Detail] Left: Organ of Pain [Detail]

“Spectre of Abandonment”

《被遺棄的幽靈》

9﹣14th September 2014

羅琳·克拉克現在正在為她的個展《被遺棄的幽靈》準備作品，這個

Candid Arts Trust, 3 Torrens Street, London, EC1V 1NQ. Lorraine Clarke now is working on the project for a solo show “Spectre of Abandonment”. This project explores how the art forms, fine art and poetry, can interact and engender

inspiration. Three poets will write works in response to two recent sculptures each from Clarke. Conversely, she will

展覽討論了藝術形式、純藝術以及詩歌是如何互相作用并激發靈感的。三位詩人會根據對克拉克新的雕塑作品進行寫作，同時，克拉克也會從這三人的詩集中選取作品并以此為靈感來創作三件新的作

品，此外她還會展出另外的兩件新雕塑和詩歌。在展出作品的同時，克拉克和詩人們會在雕塑的周圍進行現場表演，同時一個亞非學院的畢業生也會在展覽中進行現場的舞蹈表演。

create three artworks inspired by poems selected from their anthologies. She will also present 2 new sculptures with

corresponding poetry. All ten artworks will be exhibited and

Tips

respective sculptures. A dance/movement performance in

www.c la rke - a rt .co.uk www.e uroa rt .co.uk

the writers and Clarke will perform their works alongside the collaboration with a SOAS graduate will also be presented.

小貼示

Afterward Among 80 artists in Euroart Studio, there is one Chinese artist

continues year after year. Artists fuel creativity and economic

up a while with Wu at her studio. She gave a very poetic

businessmen make the capital out of it.

called Wu Wen. After the interview with Clarke, we caught

expression to her place – womb – that breeds her life and her art. For her, the current studio is perfect, safe, clean, and very well-organised.

Artist is always a dreamer, she said, many artists are facing

vitality, yet they have to confront hikes of rates whereas

Even though it sounds a bit helpless, Wu is far from being

discouraged. Instead, she smiled, ‘we are men on the brink, but with joyous and exciting life.’

financial struggles in this way or that, and they could only rent

The area where Euroart sits has attracted more interests because

the one that brings vitality and freshness to the area, but it also

while, it will become another hippest place in London like Hoxton

studios with affordable prices. Sarcastically, artist community is results in rising property price. Artists have no choice but to

move to other areas with lower rates. That’s how a vicious circle

of the artist community, it is well believed that within a short and Shoreditch.

後記在歐藝工作室進駐的8 0 位藝術家當中，有一位中國女畫家，吳雯。

種惡性的循環，藝術家的創造力和活力催生了繁榮的經濟，但最後

詩意的畫家，她把自己的工作室形容為“子宮”，在這裡孕育著她的

絲毫氣餒的意思，她說：“ 我們都是社會的邊緣人，但邊緣人才有

結束了與克拉克的訪談，我們便到她的工作室小敘。吳雯是一位很生命，她的藝術。對於現在的工作室她非常滿意，這裡充滿了對藝

術家的理解，安全、整潔、管理有序。吳雯也提到，藝術家是做夢的

落得實惠的卻是手握資本的商人。吳雯雖然說的很無奈，但卻沒有意思。”

人，大多經濟上比較拮据，只能租得起很便宜的工作室，但藝術家

倫敦北部歐藝工作室所在的區域也正因為藝術家的聚集而被越

進駐，藝術家被迫又要遷徙到租金更低的地區，周而複始成為了一

（Hoxton）或者肖爾迪奇（Shoreditch）這樣炙手可熱的潮地了。

的聚集總是會給當地帶來巨大的活力和生機，於是地價飆升，資本

來越多的人關注，過不了多久這裡可能也就變成像當下霍克斯頓

WG. Installation view. Giulio Paolini. Essere o non essere, [To Be or Not to Be], 1994-95

STUDIO IN CONTEMPORARY ART

當代藝術中的

工作室圖片提供 IMAGE COURTESY OF X

白教堂畫廊 WHITECHAPEL GALLERY

TEXT BY 撰文 x PENG ZUQIANG 彭祖強

WG. Installation view. Giulio Paolini. Big Bang, 1997-98

It’s interesting to think about how the subject of ‘studio’ has been addressed in

“工作室”是如何成為一個題材，在當代藝術中被不同藝術

the very subject of an artwork. However, presenting Self-reflexivity through a

為了藝術作品所指向的題材。在不少作品中，都出現了藝術

contemporary art practices. Studio as a place of making art work, is therefore also

representation of the studio is frequent, without offering a mundane rendition of it

can still be a challenging job, this article takes a look at some contemporary art works that go beyond painterly or photographic portraits of the artist’s space.

家運用的？工作室本身作為一個藝術創作的場所，同時又成家的自我分析性，但如何不落俗套，不停留在重現工作室內

部原樣，卻也是一番挑戰。本文探索當代藝術作品中，那些不僅僅用攝影和繪畫方式來描繪工作室的作品。

Art studio is essentially a space for making works, and Canadian artist Ian Wallace, the

藝術家工作室說到底就是一個藝術家工作的地方，而就這

art and photography, presented the studio as it is – a place to work. In his 1983

lace）的作品《在工作（At Work）》之中。華萊士是溫哥華

father of the Vancouver School which forms an important chapter on the conceptual

performance At Work, the artist is seen sitting in the front display room of a gallery,

reading and pondering in front of a long table. This seems to be a footnote of his conceptual art practice, as Wallace came from an art history back ground, this work

is self ironically addressing the stereotype of ‘writer-turn-artist’. During the duration of his performance, the exhibition space is transformed into a studio, the exhibition space also potentially becomes the actual studio space where the artist can research

and make work. The start and end point of an artwork becomes one. It also evokes the question, what is the studio space for performance artist. When the medium is the artist’s own body, does it mean the artist body is also the studio as well?

直截了當地表現在了加拿大藝術家伊恩·華萊士（Ian Wal攝影觀念主義學派的的重要代表人物，在他的行為藝術作

品《在工作》中，藝術家本人端坐在一張書桌前，一只手撐著下巴，若有所思，而桌子則是置於畫廊面朝馬路的展示空

間。作品本身似乎是藝術家對自身觀念藝術創作的最佳註腳，華萊士本人是學藝術史出身，而這件作品似乎是把自己

這種“藝評人變藝術家”的身份調侃了一番。在表演的過程中，畫廊的展覽空間也變成了一個工作室，一個藝術家可以真正工作和研究的空間。於是一件作品的誕生和展出地在

此形成了統一。但這個作品也同樣提出一個問題，如何定義

WG. Installation view, Giulio Paolini. To Be or Not to Be at the Whitechapel Galley. Courtesy of the artist and Whitechapel Gallery

Tips

小貼示

Giulio Paolini: To Be or Not to Be Whitechapel Galler y

9 July – 14 September 2014

Nonetheless, the studio space is just as any other domestic spaces, where small incidences happen, such as mice problems, recorded in Bruce Nauman’s video

installation Mapping the Studio. In the installation environment, there are seven

行為藝術家的工作室，當藝術創作的媒介是身體本身，藝術家的身體也可以被看作是工作室嗎？

projections on different walls, the artist used cheap video camera to record his own

無論如何，工作室空間其實也跟其他的室內空間一樣，充滿

three month period. The footages reveal the other side of the studio when the

在了布魯斯·勞曼（Bruce Nauman）的影像裝置《工作室測繪

studio space for the duration of a whole night. He later repeats this action over a

artist is not present. And as the visitors are invited to sit on the rolling office chair

in the centre of the space, almost acting as a security guard looking at the CCTV

footage of his studio space, while we are expecting something to happen, most of the time it disappoints us with little actions. However, the minimum action does

not mean there is nothing going on. The soundtrack of the ambience reminds us that a studio space is never empty, there is wind, mice, and many other sounds. The work reminds us the durational shots of many contemporary cinematic masters. It

also requires patient and time. It fulfils the desire of voyeuristic curiosity of the

viewer who want to look behind the scene, but the space under surveillance is actually a completely safe and secure domestic environment.

The environment of the studio certainly reflects the style and work of an artist. And many artists has thus used studio as a medium to tell different stories. In the

意外和驚喜，例如那些四處逃竄的老鼠。這個例子就被記錄（Mapping the Studio）》之中。在這個裝置環境中，七個投影分別投射在四方的空間中。藝術家用簡陋的攝像機，整夜拍攝自己工作室中的數個角落。這樣的記錄持續了三個月，而所集

成的影像則給觀眾呈現了當藝術家不在場時，藝術工作室的另一番景象。觀者們被邀請坐在空間中心放置的旋轉辦公椅

上，扮演著類似監控室保安的角色。而當觀眾期待影像中能發

生些什麽時，這些記錄卻再一次次讓我們失望。這並不代表空間中沒有事情發生，伴隨的背景聲音：風聲、噪聲、老鼠聲提醒著觀眾，工作室空間從來都不是空的。影像的風格令人聯想到當代影壇諸多大師的固定長鏡頭，它考驗著觀眾的耐心，並

提供一種對於時間的新體驗。作品一方面或許滿足了觀眾對

藝術家私人空間的好奇心，然而荒繆的是，這樣一個閉路鏡頭下的空間只不過是一個安全而平凡的室內空間而已。

current exhibition of Giulio Paolini’s at the Whitechapel gallery, several conceptual

工作室的環境或許是對藝術家風格的最佳反應。很多藝術

titled Big Bang is a sculptural rendition of a corner of the artist’s studio itself. In

廊正在展出的吉里歐·帕奧里尼（Giulio Paolini）個展中，藝

works in the exhibition presented different personality of an artist... The installation the installation, we see a chair, surrounded by paper balls of possibly discarded

sketching of his works. In front of chair erects a plexiglass box which contains a miniature of the artist’s studio – again an empty chair with an empty easel. What we are seeing here is an artist frustrated with ideas. Another work in the same exhibition, L’autore che credeva di esistere (sipario: buio in sala) [The Author

Who Thought He Existed (Curtain: Darkness Falls Over the Auditorium)] is a

room scale environment which consists of a knock-over chair, a table on top of which sketching, photos and images are pinned together through a pencil. On the opposite wall space, a projection of his drawing works are projected onto some

empty canvas and frames. In this case, the absent artist is portrayed as someone who can’t seem to continue working and thus abandoned the studio space. The

studio here is almost similar to a theatre set, the audience is supposed to imagine what happened in the studio and also what happened to the artist. It is self-reflexive with a humorous twist.

In Paul McCarthy’s film Painter, studio is used as a space of critique. In the film, the

artist was dressed as someone between a clown and a painter, or both. Exaggerating all possible clichés of the ‘male genius painter’ through his performance, as he uses

his huge paint bushes to surface the walls and canvas in his studio. McCarthy here

家也將工作室當作一個題材來進行敘事。在倫敦白教堂畫

術家的幾件觀念藝術作品便試圖講述藝術家的不同形象。

名為《大爆炸（Big Bang ）》的作品，是藝術家工作室一角

的雕塑化呈現，在作品中，我們看到一個藝術家的座椅被周圍不少廢棄紙團所包圍，這些紙團或許就是被藝術家所放棄的草稿。椅子前擺著一個透明的塑膠玻璃箱子，裡面像

是一個藝術家工作室的另一個角落：一個空椅子面對著一

個空畫架。我們看到的或許是一個筋疲力盡，費盡心思的藝術家形象。展覽中的另一件作品《覺得自己是存在著的作者L’autore che credeva di esistere (sipario: buio in sala) [The Author Who Thought He Existed (Curtain: Darkness

Falls Over the Auditorium)] 是一個空間裝置，展區中放著一張被推翻的椅子，桌上堆積著許多草稿和習作，都被一支

鉛筆定在了桌面上。對面的墻上掛滿了大小不一的空畫布和

畫框，而藝術家的鉛筆畫則被投影於其上。在這個裝置中，我們看到的或許是一個已經無法工作，一氣之下推翻椅子，離開工作室的藝術家。在帕奧里尼的作品中，工作室就像一

個話劇舞臺，裝置的布置讓觀者自己聯想藝術家的身份，猜測藝術家之前的行為。幽默之余，卻也充滿了自我反思性。

is mocking the late career of abstract expressionist Willem de Kooning, who was

在保羅·麥卡特尼（Paul

shout at his curator, who has a similar clown face: ‘You haven’t been to my studio

短片中，藝術家裝扮成近似一幅小醜的模樣，大肆用力地

said to be a selling out during his last years. When the artist in the film started to for almost a year… you owe me a lot of money.” He also reminds us the studio is also a contact zone, between the artists and those who see the works before they are shown to the public.

Liam Gillick’s Everything Good Goes, is a 15 minutes long video, depicting an

artist, listening to a lecture performance while constructing a 3D factory plan on

his computer. The video was shot in a studio space, as the camera patiently surveys the studio space from the key board to the computer screen, from the hand of the

mouse to the computer table that holds everything together. At the same time, the lecture recorded in a telephone voicemail directs both the cameraman and

McCar thy）的影像作品《畫家

（Painter）》中，工作室成為了一個用以批判的工具。在演出“男性畫家”們可能有的各種“典型形象”。麥卡特尼舉著一個大得離譜的筆刷在墻和畫布上肆意舞弄，藝術家在這裡正是在嘲諷抽象繪畫大師威廉·德·庫寧（Willem de

Kooning）在藝術生涯晚年近似流水線生產效率的藝

術創作。當影片中的藝術家對著他同樣穿著小醜裝扮的策展人咆哮道“你有一年沒來我的工作室了…你欠了我不少錢！”的時候，在滑稽之余，麥卡特尼的短片也提醒著觀眾，藝術工作室也是一個充滿互動的空間，藝術家和一些最先看到未完成作品的來訪者在此交流。

the viewers in terms of how the model-building process should be created. In this

利亞姆·吉利克（Liam Gillick）的《一切好的東西都要消失

tribute to Godard, but also a faithful reflection of the artist practice, as someone

片中的藝術家正在通過電腦制作一個工廠的三維模型，同

rather contained space, everything looks grey and sharp. This work is not only a who works closely with architecture and design, as well as theory. We can’t see the

artist, but we are seeing, listening and thinking with the artist, constructing another space in his studio.

（Everything Good Goes）》是一個15分鐘長的視頻短片。

時，他也在聽電話中播放的一段講座錄音。視頻拍攝於一個

工作室環境，鏡頭具有耐心地慢慢掃過整個工作室空間，從鍵盤到電腦屏幕，從握著鼠標的手，到整個電腦桌。與此同

時，耳邊的那段電話錄音，正指導著攝像師和觀者，如何記

錄和觀察整個模型制作的過程。在影像中這個狹窄而有限制的空間內，工作室中所有的事物都帶著一種冷靜和敏銳的

質感。這件作品不僅僅是對戈達爾（Jean－Luc Godard）的致敬，同時也反映了吉利克的混合藝術、設計和理論的創作

模式。我們看不到藝術家本人，卻在跟著藝術家一同觀察、傾聽和思考，共同在工作室中創造另一個空間。

ALEX COLES: THE TRANSDISCIPLINARY STUDIO 亞歷克斯·科爾斯:

《跨領域工作室》 TEXT BY 撰文 x PENG ZUQIANG 彭祖強

“We have entered a post-post-studio age.” Announced on the cover Alex Coles book

“我們已經邁入了後後工作室時代。”亞歷克斯·科爾斯

art world. He identified the term ‘Transdisciplinary Studio’, as a model which deliberately

作室’也僅僅在上世紀六十年代才算作新潮。而科爾斯要

The Transdisciplinary Studio, since ‘Post-studio’ was only a novelty in the 60s in the

crosses the boundary between disciplines: art, architecture, design, and etc.

So what is ‘Transdisciplinary’ then? It is not multidisciplinary which adopts different

的著作《跨領域工作室》的封面上如是寫著，所謂‘後工談論的是‘跨領域工作室’，一種融合不同學科門類（包括藝術、設計和建築等）的工作室創作方式。

disciplines simultaneously; it is also different from Interdisciplinary, which combines

然而什麽才叫‘跨領域’？它既不是‘多重學科性（Multi-

supposed to transcend the borders of disciplines and therefore practice from a degree

際（Interdisciplinary）’那樣跨越學科界限並創造出一

different disciplines and attempts to create something new. Transdisciplinary is level zero. It is “a space that is at once between, across, and beyond all disciplines” which exceeds the forms of multidisciplinary or interdisciplinary practices.

The prime example is without a doubt Studio Olafur Eliasson. Eliasson’s practice

disciplinary）’那般聯合多門學科的形式，也不像‘學科

門新學科。跨領域則是超越學科之間的界限劃分，重新開

始的一種創作模式。借用作者的話而言，它是“跨界性整合、交互、並超越所有的學科界限。”

is renowned for the intersection of science, architecture and fine art. Through case

書中最典型的案例就是奧拉維爾·埃利亞森（Olafur Elias-

studio: It is a structure that accommodates not only artist, but also curators, researchers,

和藝術而聞名。通過一些案例分析和采訪，詳盡描述了埃

studies and interviews, the book unfolds more details of the daily running of Eliasson’s teachers, and, chefs. The Studio Olafur Eliasson is closer to an art institution rather than

a traditionally defined studio with only artist and the assistants. A quick glimpse on its

son）的工作室。埃利亞森的創作一向以跨越科學、建築利亞森工作室的日常運作模式：這是一個不僅僅屬於藝術家的工作室，與之共事的還包括了策展人、研究員、教

“TRANSDISCIPLINARY IS A SPACE THAT IS AT ONCE BETWEEN, ACROSS, AND BEYOND ALL DISCIPLINES.” website reveals each members’ role and positions, its specification is nothing smaller than an art institution.

As its head of research and communications Anna Engberg-Pedersen suggested in the book “What we do is essentially art and what we are borrowing from other fields – words,

師，沒錯，還有廚師。與其說是一個藝術工作室，埃利亞森工作室更像是一個藝術機構。在其網站上粗略一看，便可

以了解每位成員的具體職位，這其中的分工層次不亞於一個藝術機構內部分工的詳盡程度。

molecules, whatever – we insert into art practice, transforming them and putting them

正如工作室研究和媒體部總監安娜·安格堡－皮德森

emphasis the role of the studio’s ‘transdisciplinarity.’ Instead, she affirms the necessities

的說到底仍是藝術，我們從其他學科借鑒語言和元素，並

to sue in a way that expands what we are producing in the field of art.” She did not overof having disciplines.

In the series of interviews with members from the Studio Olafur Eliasson. Coles did not

interview Eliasson himself, but chose to talk to other members in the studio who hold

（Anna Engberg-Pedersen）在采訪中所說： “我們所做

將他們注入到藝術創作之中，把他們重新轉換整合，從而拓寬我們對藝術創作的定義。”她並沒有刻意強調工作室中跨界性的意義，反倒肯定了不同學科獨立的重要性。

various positions such as the archivist, the curator, the architect. As a result, readers

在一系列和工作室成員的采訪之中，作者並沒有直接采

be considered as a deliberate attempt to overcome the prioritization of its central

其他的成員。這樣一來，讀者更有可能把握其跨領域的性

might get a better sense of the supposed Transdisciplinarity of the studio. This can figure over its other members. Cole’s attentiveness to the literary conventions is also

indicated in the introduction where he referred to developments in different genres of literature such as art criticism, ethnographical writings, and new Journalism, all relevant references for the writing structure of this book. It is obvious that the publication itself is experimenting with another new way of knowledge production.

In the second half of the book, Coles interviewed some other well-known figures

訪藝術家奧拉維爾·埃利亞森，而是選擇采訪了工作室中質。這樣的采訪方式，也可以看作是作者在刻意回避對工作室中心角色的過度關注。科爾斯對不同文體的研究也顯

露在了撰書過程中，在開篇的介紹裡，他提及了其他文體對此書的影響，這其中包括：藝術評論、民族誌寫作和新

新聞學。從結構上來看，此書本身也在探索一種新的寫作和創作模式。

in the art world, from the artist-turned-designer Vito Acconci, to the curator Maria

在書的下半部分中，科爾斯采訪了藝術圈中的其他一些知

Clifford. However, the inclusion of Clifford was not only to investigate on the cross-

Acconci），到策展人瑪利亞·林德（Maria

Lind. There are also some unexpected interviewees, including anthropologist James

“MY SENSE IS THAT IN AN AGE THAT IS CONSIDERED TO BE OF THE “POSTSTUDIO” – THEORETICALLY, AT LEAST, NO MODEL HAS REPLACED THAT ONE – THERE HAS BEEN A TOTAL REINVIGORATION OF THE STUDIO BUT NO THEORY HAS BEEN WRITTEN TO ACCOUNT FOR IT.”

名人士：從藝術和設計創作兼容並包的維托·阿肯錫（Vito

Lind），但其中

section between art and ethnography, but also to diversify the book’s very own ‘transdisciplinarity.’

But we also need to be aware that Coles chose these four studios precisely because they practice in such boundary-crossing style - one which might not be relevant for

也有一些意料之外的受訪者，比如人類學家詹姆斯·克利弗德（James Cliffod），而采訪克利弗德不僅僅是為了討

論藝術和民族誌之間的聯系，同樣也是在拓寬此書自身的‘跨領域性’。

most practitioners. In the area of multidisciplinary, criticisms emerged, questioning

但讀者同時也應注意到，科爾斯選擇了這幾個工作室，正

being ‘Transdisciplinary’ for the sake of it. Although such trend reacted to the rigid

這並不代表這就是當下最普遍流行的模式。在類似於跨

whether by foregrounding such terminology, the actual practice is falling behind, and

categorization of modern disciplines, many practitioners in fine art still prefer not to call themselves transdisciplinary artist. This does not merely mean they focus on only one specific genre or medium, but the fact that the word disciplinary is easier said

than done. This might also lead the readers to wonder whether the transdisciplinary approach necessarily produce better art practice?

Few of the educators interviewed in this volume, for instance Ronald Jones, was an advocate on the further transformation of different disciplines in art and design.

As Jones argued “…but we must first overcome the way we have been trained at

是因為他們的創作屬於或類似於一種跨界的形式──但界創作領域中，往往會出現類似如下的批評： “每當口頭

上談及‘跨界’時，作品和創作本身是否名副其實？還是為了跨界而跨界呢？”儘管這樣的跨界模式是對現代學科分類日趨僵化的一種反應，但許多的創作者仍不會稱自己為跨界藝術家。這並不是說這些藝術家僅僅專注於一種風

格或媒介之中，而是說所謂的‘跨領域性’往往說起來比做起來容易。這樣一來，讀者似乎也可以繼續追問： “是否‘跨領域’的創作方式就會帶來更好的藝術創作呢？”

university practising out of very narrow, discipline-bound methods. We need to think

書中所采訪到的幾位教育人士，包括羅納德·瓊斯（Ron-

Atlantic, courses and degrees adopt prefixes such as inter/trans/cross. The students are

支持者。瓊斯說道“我們應該克服在大學之中所接受的比

in terms of systems and themes, not disciplines.” True, more so in the other side of the encouraged to take inspirations from all different fields of knowledge. However, already

in the fine art departments, a clear distinction between fine art and design are drawn to retain their very own radicality. This sometimes biased hierarchy between art and

design reject their integration, so that the disciplines retains their own methodology in knowledge production. Or maybe it is not fair to judge and compare such a volume solely in the context of fine art, as that might obey the premise of the project which is about crossing boundaries.

Therefore it is worth paying attention to the rationale behind such terminology,

indicated by Coles’s own comment in the book: “My sense is that in an age that is

ald

Jones），都是對藝術和設計領域邊界進一步演變的

較狹窄而邊界清晰的教育模式…我們應該借助系統和主題而不是邊界來思考。”的確如此，在大西洋的另一邊，

課程和學科設置或許更為迎合‘跨學科/多學科/學科際’

等模式。教育模式也支持鼓勵學生從不同的學科和知識

領域吸取營養。但是，在純藝術系別中，對藝術和設計的

一個清晰的劃分似乎已經定型。這種時常在藝術和設計

之間略有不公的等級差異，似乎也抗拒著他們進一步的

融合。也正因為如此，或許僅僅從藝術的角度出發來評論這樣一本強調‘跨領域’的書，本身也是不全面的。

considered to be of the “post-studio” – theoretically, at least, no model has replaced

或許我們可以更進一步地審視作者提出這一觀念背後的

written to account for it.” This underlines Coles’s ambition of theorising a new model

代─ ─ 理論上而言，還沒有被一個新的模式來接替取

that one – there has been a total reinvigoration of the studio but no theory has been in the structure of studio practice. Nevertheless, are these examples representative of

the entire structure of the art practices? Or if these studios themselves can really be generalised as ‘Transdisciplinary.”

The book offered a detailed articulation of what is considered as ‘Transdisciplinary Studio’ in the contemporary visual practices. However, instead of providing a concluding rhetoric of such term, the author assembled a rich collection of interviews

邏輯，正如科爾斯所說： “在我看來，這個‘後工作室’時代─ ─然而當代對工作室的定義早已被更新，但還沒有

任何理論來反應這樣的轉變。”從這句話中我們不難看出科爾斯想要重新定義當代工作室定義的想法。儘管如此，

他書中所采訪和涉及的這些案例，是否具有足夠的代表性

呢？而這些工作室是否又真的都能被‘跨學科’這樣一個定義所概括？

with practitioners working in fields related to the ‘transdisciplinary’, and their words, no

此書提供了一個在當代視覺文化範疇內，什麽是‘跨領域

if this very term applies.

這樣一個模式，而是為讀者呈現了一個對諸多‘跨界性’

matter how transdisciplinary they are, provide entry points for the readers to consider

工作室’的詳盡介紹。與此同時，作者並沒有試圖去定義創作者采訪的集合。而他們的感受，無論跨界與否，都給

讀者們從不同切入點來考慮這個詞匯， ‘跨領域’是否恰當地描述了其現狀而提供了參考。

GLOSSARY: STUDIO 名詞解釋：工作室 TEXT BY 撰文 x PENG ZUQIANG 彭祖強

It’s coming to the time of the year, when many art graduates are moving out

又到了畢業季，不少的藝術畢業生都將陸續從他們工

When asking them the big question of “what’s next” after their degree shows,

算，最常得到的回復便是：“我得先找個工作室…”對

of the studio spaces that they have worked at for several years at art schools.

one common reply is that “…I will need to find a studio space first…” Indeed,

for many, a studio is a pre-requisite for maintaining their art practice. However, there are also other students who simply consider their laptop or bedroom as their studio spaces.

Studios can be considered as birthplaces for many art works, on the other hand, certain artworks never moved out of the studio. The artist might

discontinue it, or it might not attract the eyes of the curator and collectors.

Studios in the classical era often appear in the form of workshop, in which a few assistants and students would help an artist to produce paintings and sculptures. It is common to see on the labels of renowned paintings, that

the ‘workshop’ rather than the leading artist makes them. Famous examples

including paintings by Workshop of Pieter Bruegel the Elder, that are on display in the collection of National Gallery in London.

Art production was never a single genius’s work. Studio is still considered to be the place where the artist’s genuineness and inspirations reside. In the modernist era, when the ‘genius’s artist figure’ is further amplified by the mass media. The studio is usually presented, in forms of photography or

documentary, as an almost sacred place that is coherent to the artist figure. Sketches, prototypes, and materials surround the male masters of painting,

作學習多年的工作室搬出。每每問及他們畢業後的打於許多畢業生而言，擁有一個工作空間，是在學生階

段後維持創作的前提。但同樣也有另外一些學生，將自己的臥室，或是電腦當作藝術工作室。

工作室或許是許多藝術品的誕生之地，反而言之，也

有許多作品永遠無法離開工作室，它們可能被藝術家放棄，或是沒有被策展人或收藏家所欣賞。在古典時期，工作室常常是以‘作坊 ’ （w o r k s h o p）的形式出

現。這其中，藝術家會有諸多助手協助其完成一幅畫作。而作品最終的署名也會以整個作坊的名義。一個

有名的例子，就是在英國國家美術館中陳列的老彼特· 勃魯蓋爾工作坊（Workshop of Pieter Bruegel the Elder）的一些名作。

大多數藝術品通常並不是藝術家們的天才之作，儘管

如此，藝術家工作室仍常常被看作是藝術家靈感和天

賦的來源。步入現代藝術史時期，藝術家的‘天才’形象被大眾媒體進一步放大。而藝術工作室，則通常借

助攝影或是紀錄片的形式傳播於媒體之中，它們往往

和藝術家的形象高度統一：繪畫大師（通常為男性），獨自一人在工作室中作畫，身邊擺滿草稿、模型和材

usually alone in their own studio. In the recent exhibition ‘Mondrian and his Studios’ at Tate Liverpool, his studio space at Paris was recreated in

料。在泰特利物浦當前的展覽《蒙德里安和他的工作

place where he experiment with how painting would influence a three-

工作室看上去是他探索如何用繪畫來影響立體空間

dimensional space. Seeing how his own paintings interact with the furniture, and colour grids on the wall spaces, it is not difficult to discover why he

will become such a great inspiration for many designers and architects. But the idea of showing the studio in museums and gallery is an interesting

one, since the studio therefore also becomes a piece of art work, open to

spectators to find out the relation between the studio, the art works, and the artist. And certainly in the case of Mondrian, the space of his painting and space of his studio forms an interesting comparison.

Curators and Critics practice something called studio visit. Those who visit the

studio get to see the work before its final presence in the exhibition spaces. From there the completion of an art work also includes contribution from the visitors.

A work in the studio is usually different from a work presented in a museum. Take Matisse’s practice for instance, it can be argued that Matisse’s paper cut outs

were considered as part of an ‘environment’, the different cut-outs are together to form a ‘bigger picture’, as they are arranged in his studio space, rather than

being framed, and displayed individually as art objects in the exhibition form we are more familiar with these days. Out of the studio space and in the white cube space of museum, the work is presented out of its original context.

黎的工作室被復制重現於展覽空間之中。蒙德里安的

的實驗場。他的畫作和室內家具及墻上的裝飾交相呼

應，由此不難看出蒙德里安的作品為何會成為許多設

計師和建築師靈感的來源。而在這個展覽中，工作室

本身也成為了一件藝術作品，觀者可以自主探索工作室和藝術家以及作品之間的關係。而蒙德里安精心布置的工作室空間也和他同樣注重空間幾何的繪畫風格形成一組有趣的比較。

策展人、批評家和藏家們會進行工作室訪問，他們往往能在作品進入展覽空間前先睹為快。在工作室中，

一件作品的最終完成，往往也得益於藝術家和這些來訪者的交流討論。一件在工作室中的作品，往往和其

最終展出時的呈現方式大相徑庭。以馬蒂斯（H e nr i Matisse）的剪紙作品為例，他的剪紙作品在擺放模式

上，往往是相互作用並構成一個更大的‘環境’。這在

其工作室的照片之中最為常見。然而當作品出現在美術館中，卻往往各自獨立，被畫框束縛，並一一隔開。

在美術館的展覽空間中，作品被帶出原有的環境，而演變成了單獨的藝術品。

Matisse studio

the exhibition space. Mondrian’s studio space seems to be the very first

室（Mondiran and his Studios）》中，蒙德里安在巴

Albert Irvin. Photographed by Josh Wright

In the post-studio era, the image of the studio has diversified. The

而在當下的‘後工作室時代’，工作室的定義則更加的

from a research lab to a desk in the artist flat. It is not necessarily a place

術工廠，小至一臺有效率的筆記本電腦，還有從藝術

contemporary studios, range from the huge artist factory to a powerful laptop, where hands and clothes get dirty; the idea of physical space is no longer a major concern for many. The definition of ‘The Studio’ accommodates the increasingly expanding understanding of art practice, and evolves with it almost simultaneously.

However, what a physical space does provide is the peer group environment.

寬泛。當代的藝術工作室，大至幾千平方米的巨型藝科學實驗室到藝術家住處的一張桌子。工作室不再一定是能看到藝術家渾身顏料印記樣子的地方，一個實

在的空間也不再是許多藝術家所需要的。對於‘工作室’的定義，也在逐漸隨著‘藝術創作’定義的不斷更新而日新月異。

In art school, the art practice modules are often named as ‘Studio practice’.

但與此同時，一個工作室空間所能提供的，是一個和

into different studio spaces, or just ‘tables’. Despite the limited space given,

往往被稱作‘ 工作室創作 ’。每個學生都會和數位其

In an art college setting, many students would share a room that is divided the accompanying of other students, the conversation and inspiration one can get in a studio environment are both crucial to many young artists’

development. This also carries on benefiting the artist in the earlier stage

of their career, when they need to share rented studio spaces with others.

Therefore, the studio needs to be open. Events such as ‘Open Studios’ these

days, invites the public to see arts in non-exhibition formats. It opens up the gap between the private and the public.

The increasing amount of foreign residencies rejects a narrow definition of the studio as fixed and local space. As artists nowadays complete their research

through traveling or swap studios with artist abroad, the space of the studio

其他藝術家共事的環境。在藝術學校中，藝術創作課他同學共用一個空間，空間往往被粗略分割開，或者用不同桌子來代表其差別。儘管空間甚小，但其中與

其他藝術家所產生的對話和交流，對年青藝術家往往是至關重要的。當他們從學校工作室搬入別處合租的

工作室時，這樣的環境也會繼續沿襲下來。也正是因

為如此，工作室需要保持‘ 開放 ’，時常會有‘工作室開放日’ （Open Studio）這樣的活動，邀請大眾或是

同僚來參觀工作室，來看看在工作室狀態中展出的作品，而這樣的活動，也正是拉近藝術家們與觀眾距離的一個方式。

has moved beyond its white walls. It is becoming increasingly fluid and

與此同時，各式各樣的海外藝術家駐留計劃，也不斷

online while the storage is left to the cloud. Nevertheless, in this so-called post-

個固定的空間，藝術家們需要以旅行或訪問的方式完

temporary. Many artists consider the cyber space as their studio; artists live

internet eras, as increasing amount of artists are advancing their technology. There’s no need to have a physical well-lit space, and the overtly often

conversations and exchanges could even be considered as redundant to some artists. This is a reflection of the shift from a labor-intensive art production; to the increasingly conceptual-led or technologically informed art practice.

Nowadays, studio is no longer a sacred place where only the artistic gestures are performed, the artist is more than anytime in the history, situated in a

network of the art world. Studio therefore is also a space where emails and

other daily mundane tasks are resolved. The art admin works that continues to demand artist’s production hours is taking over much of the ‘practice’

time. The indoor labor of art production to many mostly operates through a

laptop. Throughout history, studio serves as the temporary space for a piece of artwork. Studio never dies, it is only been increasingly understood in its expanded forms.

在給‘工作室 ’賦予著新的定義。工作室不再只是一成調研工作，或者是和來自其他地方的藝術家互換工

作室。工作室已不再是幾面白墻所圍成的狹小空間，它的定義充滿靈活性和流動性。許多藝術家也會把網絡空間看作是其工作室。藝術家生活並工作在互聯網

之上，而他們所需要的儲物空間就都交給了互聯網雲

端。無論如何，在這個‘ 後網絡時代’，不少藝術家正不斷更新著他們對新科技的使用。或許他們不再需要

一個光線充足的室內空間，而那些在工作室和其他藝術家產生的日常交流或許對有些藝術家而言已經趨於

繁瑣。這正是半個世紀以來從手工需求量較大的藝術創作模式，到以觀念為主導或是科技發展影響下藝術創作變革的反映之一。

如今，工作室早已不再是那個藝術家施展其天才技藝

的神秘空間，藝術家們從未像現在這樣置身於一個

復雜的藝術關係網絡之中。而工作室由此也成為了一個需要藝術家不斷回復郵件和完成其他線上交流的

場所。藝術工作中繁雜的日常管理工作，侵蝕著藝術

家‘ 創作 ’的時間。而這些交流工作又大部分發生在電腦和網絡之上。可能長久以來，工作室都是一個藝

術暫留的空間，它從未消失，只是不斷在更新著它的定義模式。

30 YEARS WEST 三十年河西

After Boetti

TEXT AND IMAGE BY 圖文提供 x CAI YUAN 蔡元 TRANSLATED BY 翻譯 x BOWEN LI 李博文

We used to hear this Chinese proverb often when we were young: thirty

小時侯常聽大人說：三十年河東，三十年河西。這句民

changing situation of the Yellow River, this proverb was quite popular

的房子，經過年復一年的河水改道，卻遷移到了河西。

years on the East bank, thirty years on the West bank. Describing the everamongst the elderly. I spent three years in prison from the age of seventeen

間流傳的諺語，形容歷史上黃河年年泛濫，原來河東

to nineteen. In the 1980s, without disclosing this history, I enrolled into

8 0 年，我隱瞞了一段從17 歲至 1 9 歲，三年的坐牢經

hair, bell-bottoms, indulgence in pop music and Swing dance, I became

穿喇叭褲、聽流行音樂、跳搖擺舞，成了全校最壞的學

Nanjing College of Art. Three years afterwards, however, because of my long the ‘worst’ student, or rather, a so-called ‘hooligan’. The college finally

discovered my anti-revolutionary identity and punished me by keeping me under supervision for a year in school.

It wasn’t at all common to get married to a foreigner at that time. I left school because I wanted to marry my ‘foreign chick’ of beauty and

kindness. During the visa application process however, both the Office

of Foreign Marriage and the Public Security Bureau tried their hardest to stop me. The Nanjing PSB only permitted my visa application after the

British Embassy in Beijing had stepped in. The officer in charge of foreign affairs lectured me, holding the bilingual letter from the British Embassy in his hand: “So you are going to the UK? Remember this, the UK is the country of least culture, the Eight-Nation Alliance that burned down

Yuanmingyuan.” Hearing this, I decided that if I walked out of this country I was not coming back. In order to control my own destiny, I willed myself into exile. With a fantasy of life in the Western free world and a dream of being a great artist, I could give up everything.

歷，考取了南京藝術學院。入學三年後，卻因留長發、

生和流氓，學院政工科終於查出了我隱瞞的反革命政治身份，給了我留校察看一年的處分。

當年，中國人和外國人結婚是件絕對稀罕的事，為了和我心目中美麗善良的“洋妞”結婚，我決定退學。可

是辦護照時，我遇到了涉外婚姻辦事處和公安局的無理刁難，最後經過英國駐北京大使館的書面交涉，南京市公安局終於批準了我的護照。取簽證時，公安局

外事處長一手拿著英國大使館的中英文對照信件，一邊給我上課： “你是去英國嗎？記住，英國是最沒有文化的國家，八國聯軍一把火把我們圓明園給燒了。”聽

著這番教訓，我在心裡暗暗發誓，只要我出了國門，我

就再也不會回來了。為了逃脫命運的束縛，我情願放逐，懷著對西方自由世界生活的憧憬和實現做一個偉大藝術家的夢想，我寧可拋棄一切。

1 9 8 3 年10月1日，我們的飛機抵達英國，住在美麗如畫的東薩塞克斯（East Sussex）農村。我用車庫作畫

室，根據從中國帶來的素描寫生，斷斷續續畫了些油畫。第二年，我把畫送到白金漢宮旁的摩爾畫廊（Mall G a l l e r y）參展，得了藝術家聯盟的青年藝術家一等

獎，包括一頁獲獎證明，一盒註冊倫勃朗商標的油畫顏料和一百英鎊獎金。

這一年，倫敦舉行了一場反核大示威，我穿上人民解放軍軍裝，加入到浩浩蕩蕩的遊行隊伍裡，整個大街

響徹著有節奏的呼喊聲： “Maggie Maggie Maggie! Out Out Out!”在遊行隊伍到達特拉法加廣場時，看著對面的英國國家畫廊，終於經不了誘惑，逃離了人

群，躲進國家畫廊，如願以償地，親眼目睹了西方自文藝復興以來大師的繪畫原作。

站在似曾相識的繪畫前，腦子裡忽然閃現，我的西方美術史老師，滔滔不絕地，在課堂上給我們講述和分析西方繪畫大師的作品和流派的情形。

8 4 年，我和妻子離開平靜安逸的鄉村，搬到倫敦生活

和工作。在佩卡姆（Pe ck ham）一住就是七年，直到

90年大女兒出生才決定回國探親，期間每個月和家裡通信。那時佩卡姆是倫敦的窮區之一，居住了很多少

數民族，幾乎見不到中國人，我住的樓裡基本上都是失業青年。我搬進去後就在墻上寫滿了毛主席語錄，

On the 1st of October 1983, we landed in the UK and started living in

the beautiful countryside of East Sussex. I started using the garage as a

studio and based on materials brought from China, made a number of oil paintings. In the second year, I sent my paintings to the Mall Galleries for

exhibition, won the first prize of the Federation of British Artists and Young

Artist prize and was awarded a certificate, a box of Rembrandt oil paints and one hundred pounds.

In the same year, there was a massive anti-nuclear demonstration in London. I put on my People’s Liberation Army suit and joined the march, hearing: “Maggie Maggie Maggie! Out out out!” When we got to Trafalgar Square

however, I could not resist the temptation of the National Gallery, so excused

myself secretly, rushed into the building and finally got to experience face-to-

face masterpieces of Western art, as I had always wanted. Facing the paintings, I was reminded of the moments when my lecturer of History of Western Art

spoke of and analysed wonderfully the works and schools of Western masters. In 1984, my wife and I left the quiet countryside and started living and

working in London. I then spent seven years in Peckham, wrote to family

玻璃窗上用黑油漆寫著一排赫然的大字：“ 中國人蔡

1990. Peckham was one of the poorest boroughs filled with various ethnic

大學亞非學院的圖書館裡，如饑似渴地翻閱各種書

monthly but only went back for visit when my first daughter was born in the groups but barely any Chinese. The building I was in was filled with jobless youth. After moving in, I painted the wall with Chairman Mao’s quotations,

and a line with black gloss on the glass window: Chinese man Cai Yuan lives here and co-exists with his spirit. I resorted to SOAS library at the University

of London in the daytime, greedily reading books and periodicals; at night, I

would go to Piccadilly Circus with my easel and paint in front of the Barclays Bank building under the dim light. The spot was crowded with a dozen

painters fighting constantly for seats and clients. Feng Dawei from Shanghai

元居此並與其精神長期共存”。我白天常常躲在倫敦

報和雜誌，晚上提著畫具上皮卡迪利（Piccadilly）大街，在一所被樓房遮掩的巴克萊（Barclays）銀行旁，借著昏暗的路燈畫像。十幾個畫家擠在一塊，經常為爭位置、拉顧客而吵架和打架。我和上海來的馮大衛

是唯一的中國人，其中夾雜了兩三個酒鬼，他們畫完了遊客就立刻去買啤酒喝，喝醉了，就朝著大街開始罵人，罵周圍的畫家。

and I were the only Chinese there. Among the painters, there were a couple

1985年始，我用畫像積攢下的錢踏上了向往已久的歐

drunk and pick fights with everybody.

和德國，那時東德和西德還隔著一堵高大的圍墻，瞭

of alcoholics; after each job they would immediately go to buy beer, get

At the beginning of 1985, I finally made it to the continent with my savings. I went to the Netherlands, Italy, Greece, France, Hungary and Germany in this

order. There was still that wall separating East and West Germany, guarded by American and British soldiers with guns and graffiti. I went straight into East Germany with my Chinese passport. The wall of the East German National

Museum was full of holes created by the war, and there were many buildings bombed but not yet repaired. One deep impression was a big painting by

Menzel under the sunlight in the National Museum. Museums were the only thing I was after, so in order to save money, I lived in hostels, ate bread and

洲之旅。先後去了荷蘭、意大利、希臘、法國、匈牙利望臺上站著持槍的美軍和英軍哨兵，附近的墻上畫滿

了塗鴉。我執著中國護照直接進入了東德。東德國家

美術館墻上，布滿了二戰時留下的彈洞，有不少飛機轟炸後還沒修復的建築。印象頗深的是，在國家美術

館空曠的大展廳裡，我特意找到畫家門采爾（Adolph Menzel）的作品，擡頭望去，只見刺眼的太陽透過玻

璃，直接照射在門采爾的大幅畫面上。為了參觀美術

館和博物館，為了節約用錢，我每天就住青年旅社、啃面包、步行，采用的交通工具是輪船、汽車和火車。

walked all the time, took ferries, buses and trains for long distance travel.

8 6 年我有了新的打算，決定去美術學院從頭學起。

I decided that I was to start again in art school in 1986. I studied at Maidstone

College of Ar t）學了一年，後又轉到倫敦切爾西美術

College of Art in Kent for a year, then moved to Chelsea College of Art, participating in a three month exchange program to Ecole Nationale

Supérieure des Beaux-arts de Paris. I received my first class Bachelor of Arts in 1989, and immediately enrolled in the Royal College of Art.

在肯特（K e n t ）的邁德斯頓美術學院（M a i d s t o n e

學院（Chelsea College of Ar t），還申請去巴黎國家美術學院做了三個月的交換學生，8 9 年獲得一等學士學位，同時考取了皇家美術學院（Royal of Ar t）。

College

Under the influence of Thatcher’s politics and total privatisation, there was a

20世紀90年代，英國在撒切爾政治和經濟政策全面私

background, the Young British Artist movement was born, rebellious and free.

實和自由奮鬥催生了英國年青藝術家（Young British

You have Tracy Emin, the Chapman Brothers, Gavin Turk, Chris Ofili from the

Royal College of Art, and even livelier in Goldsmiths, you have Damien Hirst and his fellow artists. “YBAs”, “Saatchi”, “Sensation”, the whole international art world paid great attention to British artists.

In 1991, after graduating from the Royal College of Art, I had no luck

approaching galleries, applying for artist residencies or teaching positions, but I was welcomed by another international wave and started working

within the field of cultural studies, Third World theories, post-colonialism and

有化的影響下一片蕭條，到處是民眾的抱怨聲，反叛現 Artist）。皇家美院有崔西·艾敏（Tracey Emin）、查普

曼兄弟（Jake & Dinos Chapman）、加文·特克（Gavin Turk）、克里斯·奧菲利（Chris Ofili）等藝術家，

而金史密斯學院（Goldsmiths College）更為活躍，湧現出以达明·赫斯特（Damien Hirst）為領頭羊的一批年輕藝術家。 “YBA（年輕藝術家一代）”“ , Saatchi

（薩奇）”， “ Sensation（轟動）”，英國藝術家被照射在國際藝術舞臺的聚光燈下。

in the so-called ‘in-between’. For my dream of becoming an international

91年，皇家美院畢業後，我申請畫廊、藝術家進駐和

keep fighting the system.

義思潮的影響，在文化研究、第三世界理論、後殖民

artist, I spent a fortune renting a studio in King’s Cross and swore I would

More and more Chinese artists arrived in London. They were from all over

China, and they all went down to the streets and worked for money, in the centre of London, Paris, Berlin and New York. In 1995, Ms. Jessie Lim from

教師工作都沒碰上好運，這時又受到另一股新國際主

主義和所謂中間地帶工作，為實現做國際藝術家的夢想，我在國王十字車站附近（Kings Cross）租了一間工作室，發誓和體制繼續鬥爭。

Lambeth Chinese Community found me and invited me to research an

這時到倫敦的中國藝術家人數開始逐漸增多，全國美

recently received a grant. As Jeremy Theophilus, the curator, wrote in the

倫敦、巴黎、柏林或紐約的中心景點都能看到中國藝術

upcoming exhibition Journeys West, for the production of which they had catalogue: “The motivation for Journeys West has been the recognition that

there is an important and growing group of artists in the United Kingdom

院畢業的都有，為了生計都紛紛湧上街頭畫像，無論在家的身影。

whose roots are based in Chinese culture, yet whose identity and aspirations

1 9 9 5 年，蘭貝斯中國社區（ L a m b e t h C h i n e s e

Orientations magazine (Hong Kong) and Overseas Chinese Huaren magazine (London) “A Study Concerning Chinese Artists in the UK”, in which I

到我，說他們申請到藝術委員會的經費，要我為

are focused within a European context.” I had previously published in 1994 in

addressed problems related to the artistic practices of Chinese artists in the UK in the modern and contemporary period, and explored their situation through examining identity and cultural issues. I had seen something very distinct in Li

Yuan-chia. Artist Li Yuan-chia was born in Guangxi, China in 1929 as an orphan.

C o m m u n i t y ）的傑西林（ J e s s i e

L i m ）女士找

展覽做些研究工作，由當時在艾塞克斯大學畫廊

的傑里米（ J e r e m y T h e o p h i l u s ）策展，畫冊前

言中寫道：“ 這次展覽的動機是因為我們認識到英國有一群正在崛起的中國藝術家，他們根植於中國文化土壤，然而，他們的身份和抱負卻形成

於歐洲的範圍中。由於各種原因他們從未在一起展覽和探討他們面臨的問題 ”。94年我曾在香港的《方向（Orientations）》和倫敦華人雜誌《中國人》

同時發表過《關於留英的中國藝術家及其研究》，從近代到現代留英藝術家的創作看問題，從身份和文化

認同上找原因。後來我在中國藝術家李元佳身上看到

了一個不同的例子，李元佳1929年出生中國廣西，遺孤，19 49年去臺灣，東方畫會成員。19 6 6 年，他轉從意大利移居英國，1968年定居在湖區，1972年建立了

Tips

小貼示

East by South East Old Big School Galler y 19 September - 2 November 2014

Berlin Wall, Photo: Musetta Riparmonti

lot of discontent amongst young people in Britain by the 1990s. Against this

Cai Yuan and Xi Jianjun, Singing the National Anthem, Photo: Katie Hill

One Man Demo, Photo: Wang Zi Wei

Ismatic, Photo: Cai Yuan

Cai Yuan and Xi Jianjun, Two Artists Jump On Tracey Emin’s Bed, 1999, Photo: Li Mang

He moved to Taiwan in 1949, and was a member of the Orient Movement.

Li moved from Italy to the UK in 1966, settled in the Lake District in 1968 and

founded his museum LYC Museum in 1972. He passed away in 1994. I saw in

李元佳博物館（LYC Museum），1994年病故。從他身上我看到一個旅英中國藝術家的命運和環境的限制。

him the destiny and situational limitations of a Chinese artist in the UK.

96年《西行（Journeys West）》展是迄今旅英中國藝

In terms of public presentations of the artistic practices of Chinese artists

在曼切斯特華人藝術中心，艾塞克斯大學畫廊和克切

living and working in the UK, the 1996 exhibition Journeys West has been the

biggest of its kind so far, also the only touring exhibition of this specific nature.

It was first presented in the Chinese Arts Centre, Manchester, then in the gallery of University of Essex, and at First Site gallery, Colchester. Critics Hou Hanru

and Kong Chang’an both participated, and together discussed the problem of cultural identity expressed in art in the postcolonial world. I submitted

two installations, Encyclopedia-Art International (1994) a collection of 56

術家最大的一次群展，也是唯一的一次巡回展，先後斯特（C o lc h e s te r）的第一場地畫廊（F ir s t si te）展出，邀請當時在法國的批評家候翰如，意大利的孔長

安參加研討會，當時探討的問題是後殖民時代藝術家

作品表現的文化身份。我為展覽提供了兩件裝置，由

56幅油畫組成的《大百科全書－國際藝術》和用印了 100個“主義”組成的《主義癖（Ismatic）》.

paintings and Ismatic (1995) composed with 100 prints of words with “isms”.

19 9 9年，我和奚建軍開始合作，在特納獎展覽時，我

I started collaborating with Xi Jianjun in 1999. During the time of the Turner

行為得到了媒體的廣泛報道。跳床的前一天下午，我

Prize, we jumped on Tracy Emin’s work My Bed. Our action was recorded and widely reported. One day before the performance, we contacted reporters of

The Guardian and distributed our manifesto and press release. Immediately reporters called and asked for details. About midnight, we received another

phone call, telling us that The Guardian newspaper had already posted the news and, as responsible as he was, the reporter already notified Tate Gallery

們跳上了崔西·艾敏（Tracey Emin）的《床》。我們的們和《衛報（Guardian）》記者取得了聯系，把跳床宣

言和新聞稿傳真給《衛報》新聞臺，立即有記者打電

話問，明天會有什麽行動，晚上12點突然又接到電話，

《衛報》已刊登了消息，記者還表示，為了對工作負責他已將我們要跳床的消息通知了泰特美術館。

of our upcoming action. It was a Sunday morning, there were many viewers

星期天中午，參觀特納獎的觀眾很多，艾敏作品前擠滿

walkie-talkies. I pushed my way through, yelled “J!,” and jumped on the bed. I

擠出人群,脫掉上衣，大喊了一聲“J”，一個箭步跳上了

in front of “My Bed” already. It was also surrounded by security guards with

jumped and jumped, made a few Kung Fu moves, but Xi Jianjun had already

been held down by one of the security guards. After a few minutes, the security guards started controlling the crowd and a number of policemen rushed in,

了人，《床》的四周已經站著幾個帶報話機的保安，我床。我在床上蹦蹦跳跳，擺了幾個功夫動作，嚇退了上來阻止我的保安，這時奚建軍已被一個粗壯的保安逮

住。為延長時間，我開始撫摸現成品，拿起一個空酒瓶

while I was already on the floor. We were taken to Belgravia police station. After

喝，幾分鐘後，保安開始驅逐人群，好幾個警察沖了進

to sue us. We walked out and were surrounded by reporters, and the whole

格雷夫（Belgravia）警察局，幾個小時後，律師通知我

a couple of hours, we were notified that Emin and her gallery had decided not country heard the news the next day.

Since 2000, we collaborated on a number of performances including Two

Artists Piss on Duchamp’s Urinal (Tate Modern, London, 2000), Soya Sauce & Ketchup (Tate Britain, 2012), Two Artists Crawl through Central London (2000) , Two Artists Swim Across the Thames (South Bank, 2000), Two Artists Run Naked Across Westminster Bridge (Westminster Bridge, 2000). We transformed cities, public spaces and museums into stages for

performance, put our bodies into the society, culture, politics, events and

situations, expressing the wildness of contemporary society and the true reality. In 2004, Xi Jianjun and I had our first solo exhibition Happy and Glorious

來，這時我被保安按倒在地上。我們被警察帶到貝爾

們，說艾敏和艾敏的畫廊決定不予起訴。從警察局出來，我們被等候在門口的記者團團圍住，第二天“兩位藝術家跳床”的消息傳遍了全英國。

2000年開始，我們實施了一系列的行為藝術計劃，

《兩位藝術家在杜尚小便池旁小便》，《兩位藝術家

西紅柿醬油大戰》，《兩位藝術家在倫敦爬行》，《兩位藝術家橫渡泰晤士河》，《兩位藝術家裸跑西敏士特大橋》。我們變城市、公共空間、美術館為行為的舞臺，將身體置入於社會、文化、政治、事件和形勢的變化當中，表現當代社會瘋狂和真實的現實。

in the Chinese Arts Centre, Manchester. At the opening, hung upside down,

20 0 4 年，我和奚建軍在曼切斯特華人藝術中心舉辦

made our pledge to the Queen in the words of the citizenship oath. In the

榮》為展覽主題，開幕式身披國旗，高唱國歌，向女皇

our bodies wrapped in the Union Jack flag, we sang the National Anthem and centre of the exhibition there was a customized 9-metre long coffin. Within it there were chandeliers, golden wallpaper, a red carpet and Chinese dim sum for the audience to take.

One Man Demo (2010-ongoing) is an individual project of mine that has

lasted four years since 2010. A number of keywords have been chosen for it, including Occupy, Global Democracy, the Arab Spring, Jasmine Revolution, Anti-War, Unemployment, Deficit, Cut, Copyright, Self-immolation, Suicide Bomb, Riot, Murder, Assassination, Institution, Celebrity, Immigration,

Facebook, Twitter, Youtube, Tsunami, and Carnival. During the time of

Kassel dOCUMENTA(13) in 2012, Xi Jianjun and I occupied a space in front of the Fridericianum Museum with a tent covered in ‘isms’. By the end of the dOCUMENTA, there were about thirty tents.

In recent years I established OCCA with my wife Katie Hill, in which we conduct exhibitions, research, education programmes, projects and develop collections

to promote artists in the Chinese diaspora. We built a space in our house in the countryside in Oxfordshire, which can be used as both an office and a studio. My most recent project was my collaboration with artist Duan Yingmei who

lives and works in Germany, when we organized a month-long performance

Optimism in the Oxford project space in February 2014. I Grew up in a Honey Jar served as my opening performance: I wrote down numbers from 1 to 1095 on a 9 metre-long wall, representing my lost youth and freedom.

In front of the audience, I read my confession composed some forty-years

previously when I was eighteen, on a ‘criticism tour’ in Nanjing, made to recite it in mine fields, companies and schools to large crowds: “I was born in a

revolutionary family, raised in a honey jar. Reviewing the whole of my criminal path, I am ashamed and am filled with self-hatred. I must purge the anti-

revolutionary thoughts from myself, split away from my evil history, come back to the side of the people, and beg for mercy from the party and the people.”

了第一次個展，我們以英國國歌中的歌詞《幸福和光宣誓。展廳中央放置定制的9米長的大棺材，裡面布置了水晶燈、金墻紙、紅地毯，邀請觀眾吃中國點心。

《個人遊行或一人示威（One Man Demo）》，是我持續

了三年的行為計劃，以示威抗議的形式，選擇當代關鍵詞，其中有：占領、全球民主、阿拉伯之春、茉莉花革命、反戰、失業、赤字、削減、版權、自焚、人彈、暴亂、謀殺、

行刺、體制、明星、移民、臉書、推特、優屏（Youtube）、海嘯、狂歡節。2012年夏季，我和奚建軍在德國卡塞爾

文獻展(Kassel Documenta13)實施了三個月的占領期，在主展場美術館（Fridericianum）門前安營紮寨，在展覽結束前，發展到近30個帳篷。

近兩年我和凱特（Katie Hill）在牛津創立了中國當代藝

術班公室（OCCA），開展研究、教育、計劃、展覽和收藏等合作項目，在我們牛津農村花園裡增加了一個用

於施工的活動房，不僅做辦公室，也可以做作品。今年我和旅德中國藝術家段英梅合作，在牛津計劃空間創作了為期一月的《樂觀主義》行為作品，《我在蜜罐

裡長大》是我的開場白，在 9 米長的墻線上，從1寫到

1095，1095天代表我曾經失去的青春和自由。在觀眾

面前，我讀著4 0 年前在南京工礦、企業、學校巡回批鬥時的坦白交待書： “我出生在革命幹部家庭，從小在

蜜罐裡長大，回顧我走上犯罪道路的全過程，我不禁

悔恨交加...我必須徹底清算自己的反動思想，和罪惡的歷史一刀兩斷，回到人民這邊來，爭取黨和人民的寬大處理。”

Footage: At the time of writing this briefly article, I was

beginning to write a full account of my story, including my years in prison in the 1970s in Nanjing and my experience in the UK.

ACTING ALONE INTERVIEW WITH RICHARD WILSON 單獨行動

專訪藝術家理查德·威爾遜 TEXT BY 撰文 x RAJESH PUNJ 瑞傑希·龐治 TRANSLATED BY 翻譯 x BOWEN LI 李博文

IMAGE COURTESY OF 圖片提供 x RICHARD WILSON RA 理查德 · 威爾遜

Slipstream is one of Richard Wilson’s most innovative projects to date. Originally based on the induced motion of a car rolling over,

translated into the aeronautical endeavour of a small propeller plane turning through the air at high altitude; Wilson’s elevated

aluminium clad sculpture, twists through the central space of the redesigned new terminal building like an elongated spacecraft

settling for earth. And as the motive for our meeting, this titanic sculpture serves to facilitate what is a remarkably candid conversation

about his original appetite for the grandiose scale of American sculpture, and of its influence upon his more substantial interventionist works. His indicative need for a ‘wow’ factor when drawing an audience in, and of his wish to redress the notion that his works are in

any way acts of ‘vandalism’. Throughout Wilson advocates for more rudimentary principles, referring to ‘honesty’ and ‘integrity’, ideals

that he argues are slipping away from a lot of leading artist’s practices now, in favour of more commercial interests. All of which makes Wilson a sculptor in the purist sense.

《尾流（Slipstream）》是英國雕塑家理查德·威爾遜最為大膽的作品。這件巨型雕塑作品模擬了機動車在路面翻滾以及小型螺旋槳飛機在

高空航行的動態。像是一架宇宙飛船準備降落地球一般，巨型鋁製雕塑《尾流》扭曲地漂浮於倫敦希斯羅機場新航站樓之中。從這件作品開

始，我們與威爾遜討論了他對美國巨型雕塑的偏愛，以及這風格對他充滿介入感的大型雕塑作品的影響；他對公眾積極反饋的需要，以及他

對作品的破壞性的辯護。威爾遜在這次談話之中大量提及了如誠實或尊嚴等基本創作原則。對他來說，許多成功的藝術家已經放棄了這些原則，並更多地尋求商業利益。這一切堅持為威爾遜保持了雕塑藝術家身份的純粹性。

ART.ZIP: Possibly we should begin by your explaining and exploring the

significance of your new work, ‘Slipstream’, and of how important the scale of this work is?

RW: It’s an interesting question relating to scale, because first of all the obvious

question people will say is it’s ginormous, why? And you have got to understand I have spent a good part of my professional career as a sculptor; dabbling with

architecture, playing with architecture, undoing it, and therefore I’ve had to take

on that scale. Therefore if you have an idea about spinning a facade, you don’t do it as a six foot piece. A facade is looking at the extremities and thinking what will the budget allow for? So obviously architecture is a dedicator for scale, and the

other thing is the canvas that I was given, which is the empty void of the covered court area. Which is supported in the middle by eleven columns, and in relation to the brief that I was given, was that the sculpture could only be supported off of the columns. So I have only used four of them, and I have probably used just over a third of the supports for the ceiling.

So in that respect it’s not a very big sculpture; but it is big when you see it.

And it’s to do with human scale, non-human scale, and architectural scale. So I’ve worked with the scale of the room, and I’ve worked with the scale of the

interior of the architecture. It’s not as big as the building; it’s only in one third

of the building. You have got the car-park arrivals area from London, and then you have the covered court area, and you have the terminal. So I have got the middle piece; and I’ve taken four of the eleven columns of the middle piece,

therefore it’s not a sprawling work that occupies three parts of the architecture,

ART.ZIP: 我們或許應當從您的新作品《尾流》開始。請您給我們講一下這件作品的寓意，以及創作規模的意義。

RW: 創作規模是一個有趣的問題，因為這個作品對所有人來說都是巨大的。為甚麼？你要明白，我一直是這樣工作的：進入建築領域、使用建築元素、解構建築，

因此自然地，創作規模是一個很重要的考慮因素。所以，如果你想要扭轉一個建築的立面，一個六英尺大

小的作品並不足夠。任何一個西式建築立面都與極限有關，當然也與預算有關。所以理所應當地，建築總

與“規模”息息相關，而我能夠使用的創作空間就是候機樓巨大的中庭。中庭里有十一根承重柱，我的作品只使用了其中的四根，只佔用了三分之一的天幕支撐。

所以，在這個意義上來說，這件作品並不是一個無比巨大的雕塑；但親身體驗這個雕塑時你還是會感覺到

它的龐大。這與人體大小、非人體尺度以及建築規模有關。創作的規模根據空間的尺度以及建築內部大小

進行調整，我只使用了整體建築的三分之一左右，而

不是整個建築的全部空間。整體建築包括停車場、中庭以及候機樓。我只使用了整體建築的第二部份，借用了四根立柱，所以這不是一個盤踞著整個巨大建築的雕塑作品。我想，在這個意義上，這個雕塑適合這個空間，大小合宜。

it only occupies one part of it. So in that respect I think it is right for where it is, and the size is right for where it is located.

And in terms of the visual people like to see exciting things, dramatic things, startle their imaginations, and I think I work on that level. It’s a little rude in

the sculpture world, but I use it, and I suppose I use it because I am working

a lot of the time in an environment where my audience isn’t well versed in an art grammar. Here we are at an airport where 20 million people a year come through this terminal, then they are not all going be au fait with the visual

arts; they (the audience), have not had the training I have had, so I have to use something that gets that wow factor going.

ART.ZIP: You appear to consider the external factors of a work, (the volume of space you begin with, and your wish for the work not to overwhelm that

setting in any way), as much as the work itself; am I correct in thinking that? RW: I think that’s true, and I think that one learns to be very sensitive, and that comes through various reasons. And it is something I have had to really think about, and work with over the years, because I spoke about the idea that

you can make constructions and build, which is what this is. Or as a lot of my work in the pass has done, which is to unravel and undo, and look inside of

architecture. When you do that, you tend you get critics talking about the artist as being a vandal, that I am attacking architecture, and disagreeing with the

and things that are going to arouse them, and dazzle them in some way, and

Artist Richard Wilson RA in front of Slipstream at Heathrow’s new Terminal 2 © LHR Airports Limited. Photographer Anthony Charlton.

architect; and it’s not that at all. Because they are sensitively choreographed pieces; so

視覺上，人們喜歡令人興奮的、戲劇性的、

or take a window and bring it into the space to adjust the architecture, it’s all incredibly

東西，我覺得我在基於這樣的標準進行創

when you do turn the facade of a building, or plant a sculpture in the floor of a gallery,

thought out and sensitively worked. I wouldn’t say hundreds, but there are lots and lots of drawings, sketches and models made, to get it to sit properly and right in the space. It’s not an attack, it’s not an act of vandalism. I’m not the mad axe man coming in to attack architecture, as has been written about me. So I have had to think about it.

ART.ZIP: That comes across as a strange accusation, for someone so deliberate in everything that they do. Are you?

聳動性的、能夠讓人暈眩、激發人想像力的

作。對於雕塑界來說，這樣的創作可能有些粗魯，但是我必須這樣做，因為我經常要在一個非專業藝術語境中進行創作。這个候

機樓每年接納超過兩千萬來自世界各地的旅客，我們不能指望每一個旅客都熟悉當代

視覺藝術。他們沒有接受過我曾接受過的訓練，而我要為了讓他們興奮而創作。

RW: I can understand it, because what it is, is that often people don’t know the hidden

ART.ZIP: 對您來說，創作外部因素－－包括空

1998, The Arc, Stockton-Upon-Tees; Turning the Place Over 2008, Liverpool; Water Table 1994, Matt’s Gallery, London), when you know you have been given permission

乎與作品本身同樣重要。我這樣說對嗎？

agenda, and I am referring again to these pieces I have just mentioned, (Over Easy

間的大小，以及創作規模的合宜性等等－－似

to undo a window, and you have a very good understanding of how that window

RW：的確是這樣的。出於很多原因，一個藝

it, bring it back in, and put it back up afterwards. I knew with Turning the Place Over

以及面對的事情，因為在某些情況下你可以

operates, as in She Came in through the Bathroom Window 1989; I could just unbolt 2008, I could do a pastry cut in the building, mount that onto a spindle and spin it,

because the building was going to be pulled down afterwards; so those were the hidden agendas, given that information. The same with the Serpentine Gallery, Jamming Gears

exhibition, in 1996; they, (the gallery), were going to excavate their basement out. And

術家要學會變得敏感。這是我要經常考慮提出一個計劃並開始建造，一切非常順利。

有時候，就像我過去常做的那樣，你想要消解、鬆弛並探究一個建築的內部。評論家們

經常把這種作品視作是一種蓄意毀壞，把我

視作是攻擊建築的人，對建築師的創造有異議的人。但事實完全不是這樣的。我過往的創作

助，將在地下一層建立一個藝術教育廳。我

地面上立起一個雕塑，或是在一個建築中放置一個窗戶以改變這個建築空間，這些都是經

這地板無論如何是要被拆掉的。所以我一直

全部都經歷過仔細的架構和縝密的考慮。所以，無論是扭轉一個大樓的立面，還是在畫廊的過深思熟慮的、都是細緻地構架出來的。每一件作品在實現之前都需要大量的繪圖、草稿、模型，以達到理想的結果。這些作品不是對建築的攻擊，我也不是在蓄意毀壞某幢建築。我不是人們口中的那個拿著斧子攻擊建築的瘋子。所以我需要考慮這些事情。 ART.ZIP: 對於如此謹慎的人有這樣的一個指控實在有點不能理解。

R W：我能理解這些指控，因為人們通常不清楚藝術創作的背景。我在討論的還是那一系

列作品(Over Easy 1998, The Arc, Stockton-Upon-Tees; Turning the Place Over 2008, Liverpool; Water Table 1994, Matt’s Gallery, London)：舉例來說，在《她從浴室窗子爬進

來（She Came in through the Bathroom Window, 1989）》之中，我清楚那個特定窗戶的功

能，也已經獲得許可，所以我能夠把窗戶卸下來，放入室內空間的中心，再放回原位。在創作《翻轉空間（Turning the Place Over, 2008）》的時候，我可以切開一個大樓立面的一部分、為這一部份安上軸、任意旋轉這一切面，因為這整幢大樓在此後將被拆除。這些細節是我藝術

之所以可以挖空畫廊的地板進行創作，因為都是在與空間達成共識之後，在可行的範圍內進行創作的，在這個意義上，我可能在某程度上挑戰了一些建築空間。在一個美術館環

境中，建築的地位是至高無上的，你甚至不能在牆上釘釘子，更不要提掀起地板了。光是取

出一個燈泡就要經歷許多安全保障手續，已經是非常困難的事情了。所以在創作的時候我對所有這些情況進行研究，努力了解一系列的限制性因素，最終在這些限制之內進行

創作。我的創作不是蓄意毀壞，我並沒有走

入一個空間，甚麼也不問，不尋求許可，就假設我可以進行那些創作的。

創作的背景。1996年在倫敦蛇形畫廊（Serpentine Gallery）完成的《卡住的齒輪（Jamming

ART.ZIP: 在計劃進行當中，繪圖是其中一個重

they had been given lottery money to put an education room down there. Therefore I

RW：對我來說繪畫非常重要。因為，第一，

understanding that I would use the parameters of what was allowed and doable; and in

暢地表達我自己，不能帶來任何誤解。有時

Gears）》也是這樣。那時，畫廊已決定要挖空他們的地下室。他們獲得了英國國家樂透的資

could dig the floor, because when I’d gone it was all coming up anyway. So there was an that respect I probably challenge the architecture in that way. Where as in the museum environment, it is one where the architecture is sacrosanct, you can’t put a nail in the

wall, you can’t undo that floorboard; you know it is difficult enough taking a light bulb

out, there are so many health and safety restrictions. So I research all of those things, and just basically determine what the available parameters are, and then work out what I can do within the parameters as I understand them. It is not vandalism, it’s not that I go in

要組成部份嗎？

我與一整個團隊一起工作，我需要清晰流

候，為了獲得資金支持，我需要提供繪畫以

及模型。所以我需要搭建一個小型模型來說

服不熟悉藝術語言的人－－比如某地政府部門－－讓他們理解、欣賞，並願意出資實現某個作品。

and don’t ask, or seek permission, and just assume I can do these things.

我總是儘我所能完成這些事情，以最好的方

ART.ZIP: How integral is drawing when planning a work?

健身房鍛鍊一樣，我把繪畫視作一種精神鍛

RW: Drawings are vital for me, because number one I am working with teams, and I have got to be able to express my idea sensibly, and in a coherent way, so that there is no

misunderstanding. Sometimes I am invited to make drawings and models to assist in the securing of funding, so you would be asked to make a maquette in order to convince

someone who is not that well versed in the art grammar, that they can say oh I get it, I like it, let’s put money forward into that, so it will be a local authority perhaps.

So these things are done to the best of my ability, in order to convey the best possible

way the concept as it is at that moment in time. The other thing the drawings are done for is, in the same way people go to the gym to work-out, I use drawing as a mental

式傳達某個概念。另一方面，就像人們會去鍊。我必須非常熟悉每一次創作，因為我不

能完全掌控整個創作過程。舉例來說，《尾流》是在英格蘭東北部城市霍爾（Hull）製作，在倫敦完成組裝的。因為這不是在工作

室裡完成的，所以我沒有時間仔細打量它或做甚麼改動，我需要一蹴而就，就像一個建

築師一樣。我也不能浪費錢；我不能說這樣

的話：“ 我其實並不喜歡中間這一部分，把這一部份扔了重做。”，那樣就太不專業了，錢也打了水漂。

limbering up. I have got to get very familiar with my work, because once I am familiar

ART.ZIP: 的確，在實施計劃的過程中，總有你

assembled here. It’s not done in the studio where you get time to look and duel upon it

考慮各種細節，在製作過程中你也沒有改變作

with it, it is handed over. Made in Hull, (referring to the slipstream sculpture), and

and change things, you have got to get it right, like the architect’s got to get it right. And you can’t be seen to be wasting money; you can’t say actually I don’t like the middle, can we get rid of that and do it again, because you look unprofessional, and you are throwing money away at that point.

不能親身監督的時候。在那些時候你不能回頭品的機會。你是怎麼處理這些情況的？

R W：在創作《尾流》或其他於非畫廊空間

完成的大型作品的時候，我需要像一名建築

Slipstream by Richard Wilson at Heathrow’s Terminal 2 | The Queen’s Terminal. Photograher David Levene. © LHR Airports Limited

Turning the Place Over, European Capital of Culture Project, Liverpool ÂŠ Tony Wilson Courtesy of Richard Wilson RA

ART.ZIP: There must be a point with certain projects then when you are having

師一般工作。我不斷地修改我的理念，進行細微的調

to come back to something, and have the opportunity to amend it whilst it is

師們，然後再轉交給製造方。到了這個時候，我也並

to be much less attached to a work, as with Slipstream. Where you are less able under construction. How do you operate under those circumstances?

RW: With Slipstream, and any of the other major works where the sculpture is rooted in a building outside a big gallery idea, it requires of me to work like an

architect; that is you work, and work, and work on the idea, to get it fine-tuned

to what you consider is correct, and then you hand it over to the engineers, and onto the manufacturers; and at that point you don’t lose control on it, but you

obviously can’t chop and change it after that. And when a project like this takes

整，直到我覺得一切沒問題了，我再把計劃交給工程

沒有完全失去對作品的控制，但是在這之後我就不能做甚麼大改動了。如《尾流》這樣的大型項目一般需要三年的時間，而對藝術家來說，最緊張的時間應當是

最初的六個月。此後，藝術家則要跟進和監督計劃的執行，確保計劃的順利進行，給出意見，但總的來說，

你不能挑戰自己的創作美學。你不能說：“ 我不喜歡我自己之前做的，能不能把這些都扔了。”

three years, you most intensive period is probably the first six months, at the very

ART.ZIP: 在討論公共雕塑的時候，你使用了一系列相互

way those bits work, or can we just clean that there, or I don’t like that bit there,

一個“ 行動主義”藝術家去“感受”一個空間。

beginning. After that you are following it, signing bits off, saying I don’t like the

but essentially you can’t challenge your own aesthetic. You can’t say I don’t like

矛盾的辭彙。你提到了不可避免的“妥協”；你希望作為

the way I have made that work, can I get rid of all of that.

RW：這與年紀的增長有關。有時候你可以很強勢，在

ART.ZIP: There is something almost contradictory about your lexicon for

有人走來對你說某個結構不能那麼高，一定要低一

public sculpture; when you talk of inevitable ‘compromises’, and of your wish for ‘being sympathetic’ to a space; in relation to the artist as ‘actionist’. Are the two mutually exclusive?

RW: It comes with age, you start to realise that sometimes you can be a bit

belligerent, and you think the idea is right; and you have tried and tested it on

your models and drawings, and then someone will come along and say it can’t be that high, it’s got to drop down a bit so you can see the exist sign, and you drop it, and you think actually I am glad that surfaced because it could have been a bold, brisk attempt at saying, here I am, flying up and away, when in

fact there is a subtly aswell, when you reduce and do those things. Sometimes fortuitously it’s a blessing in disguise, and you rarely say I am glad that went

that way, because I had got it wrong; you keep quiet about it, and you pretend it was always intended. But obviously artists have to work in that way all the

time. I think everyone has to give and take in that situation. The building has to give a bit, but the sculpture has to give a bit back aswell.

ART.ZIP: You have referred to the significance of scale in your work, how important was American sculpture to you, as an influence?

RW: I really used the library, and I became very involved in the American

artists at art college. Very involved in Land Art, and I become very involved with scale. (Richard) Serra, Mark di Suvero, and some of the other big land

artists, Walter de Maria, Michael Heizer among them. And I came to Gordon Matta Clark very late, after college. But that kind of bravado, the idea that

scale and the very American idea that rather than use the path you know, get off the path and make your own trail. That idea that you have something to say, say it; and don’t follow the conservative trend, break away and be your

own person; be your own ideas. And I always thought there was something

wrong, that if anyone was making work like you that that was wrong; and for me it was about being unique.

進行過各種測試後，你相信自己的想法是對的。然而

點，否則人們將無法看見安全出口標誌，在接納了他

的意見之後，你會感到慶幸，因為這作品不僅與藝術表達的自由性有關，在你對其進行改動的時候也需要

進行某種細緻的考慮。有時候這讓人感到幸運，但你不會說“我很高興我進行了這樣的改動，因為我在一開始的時候弄錯了”；你不會去討論這件事，而會假裝

你本來就是這樣考慮的。當然，藝術家經常要以這樣的方式去工作。我想，在那樣的狀況下，每個人都需要

做出妥協，建築需要做出妥協，雕塑也同樣需要做出妥協。

ART.ZIP: 回到關於作品規模的問題：美國雕塑對你有著重要的影響嗎？

RW：我對美國雕塑流派進行過大量的研究，在求學時

期我也經常與許多美國藝術家交流。我與大地藝術運

動的關係非常緊密，也自然地經常考慮藝術創作規模的問題。我接觸到了包括瓦爾特·德·瑪麗亞（Walter

de Maria）、邁克爾·海澤（Michael Heizer）、理查德·塞拉（Richard Serra）以及馬克·迪·蘇維洛（Mark

di Suvero）等重要的大地藝術雕塑家。在藝術學院畢業之後我才遇到戈登·馬塔·克拉克（Gordon

Matta

Clark）。他們的勇氣、氣魄、不走尋常路的美國精神、直接了當的自我表達、不守舊而強調突破的原則…我

那時總覺得如果有甚麼人像你一樣創作的話，那一定

是有甚麼地方不對勁。對我來說，藝術讓我成為一個獨特的人。

TE N E

D BY AR

REALLY? LIVE AND WORK HERE