ART.ZIP issue 7 by Jingchen Liu

熱點話題

HOT TOPIC 007 007

Dancing around Duchamp

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Light Show

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Rock on Top of Another Rock

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Lichtenstein: A Retrospective

與杜尚共舞

光之展

石上石

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Xu Bing: Landscape Landscript

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Design of the Year 2013

The Wonder Project

023

The Arrest of Ai Weiwei

Karl Blossfeldt

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徐冰：山水詩畫

奇蹟計劃

卡爾·博羅斯費萊德特

2013年度設計獎

《逮捕艾未未》

David Bowie is

關於大衛·鮑伊

里奇特斯坦回顧展

固定專欄

EXCLUSIVE COLUMN 121

127

097

Hynek Martinec

115

Pop Art

105

Learning and Experience

121

Man Ray

109

Commissioning Contemporary Art

127

The Arnolfini Wedding Portrait

海德尼克·馬提尼克

感悟與經驗

《當代藝術委託指南》

波普藝術

曼·雷

阿諾芬尼的婚禮

每期專題

SPECIAL FEATURE 043

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Art Foundation

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Jerwood Foundation

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British Charitable Trust System

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Wellcome Trust

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Arts Council England

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Frieze Foundation

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Art Fund

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David Roberts Art Foundation

藝術基金會

英國公益信託制度

英格蘭藝術委員會

英國國家藝術基金會

傑伍德基金會

威康信託基金會

Frieze基金會

大衛·羅伯茨藝術基金會

ISSUE 07 2013

ART.ZIP

ISSN 2050-4152

Publisher 出版人

Chunfen Liu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

Marshall Dusha Mo Ming 莫名

Olivia Xiao肖蘭

Translator 翻譯

Syndi Huang 黃煥欣

Shoran Jiang 姜嘯然 Peter Vautier

Chang Yu 于暢

Creative Director 創意總監 Ye Li 李燁

Art Director 藝術總監 Xiaodan Gao 高曉丹 Nan Wu 武楠

Managing Director 運營總監 Yuese Shi 石約瑟

Visual Design 視覺設計 Bulletpin Studio

Special Thanks To 鳴謝 Art Fund 英國藝術基金會

Arts Council England 英格蘭藝術委員會 Ashmolean Museum阿什莫林博物館

Barbican Centre 倫敦巴比肯藝術中心

David Roberts Art Foundation 大衛·羅伯茨藝術基金會 Frieze Art Fair Frieze藝術博覽會 Frieze Foundaion Frieze基金會

Hampstead Theatre 漢普斯特德劇院 Hayward Gallery 海沃德畫廊

Jerwood Foundation 傑伍德基金會

National Portrait Gallery 英國國家肖像畫廊 Royal Acadamy of Arts 皇家藝術學院 Serpentine Gallery 蛇形畫廊 Tate 泰特美術館

The Design Museum 英國設計博物館

V&A Museum 維多利亞和阿爾伯特博物館 Wellcome Trust 威康信託基金會

Whitechapel Art Gallery 倫敦白教堂藝術畫廊

Co－operators 合作夥伴 Today Art Museum Beijing 北京今日美術館， Soho.com/Arts 搜狐藝術頻道， Art China 新浪收藏頻道，

Oriental Art Master 《東方藝術大家》， Art Value《藝術當代》雜誌

Address 雜誌社地址

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

EDITOR’S NOTE 主編寄語

很多人問我，東西方藝術領域中最大的差別是什麼，其實我可以不假思索的回答說“邏輯不同，文化差異”，但這樣的回答的確是極其不負責任的，而且毫無建設意義，於是乎我開始嘗試用比較務實的態度來尋求這個問題的答案。縱觀中英藝術領域的各個部份，我們會發現每一處都能找到東西方邏輯和文化差異導致的不同，但是在這些不同之處當中，有一個部份非常有趣，這就是英國的藝術基金會和政府對藝術的專項扶持機構的運作。對比藝術領域的其他部份，比如藝術教育、拍賣、藝術品銷售等領域，由於全球化市場的存在而導致了中國藝術領域在這些擁有“市場”的方面發展較快，很多規則也已經與國際接軌了，但在“非盈利”的藝術發展保障方面卻建樹不多。因此，在這一期雜誌中，我們將為觀眾介紹英國的文化發展協會及非盈利藝術基金會的方方面面，以最直觀的方法來展示英國藝術體制中重要的一環。

I was often asked the biggest difference between the Eastern and Western arts. In fact, I could

response without hesitation, ‘different logic, different culture’, which I think it is an irresponsible

and meaningless answer. So I start to think about the answer in a more pragmatic way. Throughout various parts of Chinese arts and British arts, logical and cultural differences do lead to certain differences between the East and the West. However, among all these differences, I found a

particularly interesting part—the operation of arts foundation and the governmental support for arts in the UK. Compared with other arts sections, such as arts education, arts auction, art sales and other areas, China has rapid development in the field of arts market due to the globalization, even many of the regulations have been established with international standards, yet in terms of non-profit arts support is still under development. Therefore in this issue, we will introduce various cultural

development organisations and non-profit arts foundations in the UK, so as to reflect one essential part of the British art system.

HARRY LIU 劉競晨

Editor-in-chief 主編

Get closer to art with the Patrons Circle

The Patrons Circle provides invaluable support for our work, helping museums and galleries acquire great art for the public. Join us and enjoy a closer relationship with the Art Fund and the works you help us to fund through: Exclusive visits to artists’ studios and private collections Tours by specialist curators and private views of major exhibitions Privileged access to special events including the Art Fund Prize ceremony and the Chairman’s dinner For more information on joining the Patrons Circle contact Katherine Harding on 020 7225 4843 or visit www.artfund.org/join/ patrons-circle-membership

Cycladic marble figurine of the rare male ‘hunter-warrior’ type, wearing a baldric and belt. Made in the Cyclades, about 2200-2300 BC. British Museum. © The Trustees of the British Museum. Acquired in 2011 with Art Fund support

Dancing around Duchamp 與杜尚共舞

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BARBICAN CENTRE 巴比肯藝術中心

Marcel Duchamp, Fountain, 1950, Philadelphia Museum of Art, 125th Anniversary Acquisition.

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展覽場地：Barbican Centre 巴比肯藝術中心展覽時間：14.2.2013–9.6.2013 更多信息：www.barbican.org.uk

Marcel Duchamp, Bride, 1912 Philadelphia Museum of Art, The Louise and Walter Arensberg Collection

Dancing around Duchamp is a major multi-disciplinary

season of events across visual art, dance, theatre, film and music. The season orbits around the legendary figure of

Marcel Duchamp and the Art Gallery’s major new exhibition

《與杜尚共舞》是一個整合了藝術、舞蹈、戲劇、電影和

The Bride and the Bachelors: Duchamp with Cage, Cunningham, Rauschenberg and Johns organised by

音樂等多門藝術形式的活動季。整個活動季圍繞著馬塞爾·杜尚（Marcel Duchamp）的傳奇藝術人生而展開，巴

Barbican Art Gallery. The Bride and the Bachelors is the

寧安、勞森伯格和約翰》（The Bride and the Bachelors:

the Philadelphia Museum of Art and in association with

first exhibition to explore Marcel Duchamp’s (1887–1968)

impact on modern artists and it is examining one of the most important chapters in the history of contemporary art. The show brings together key figures of the avant-garde with

a shared Dadaist or absurdist sensibility who changed the

course of 20th-century art: Samuel Beckett, John Cage, Merce

Cunningham, Marcel Duchamp, Alfred Jarry, Jasper Johns, and Robert Rauschenberg.

Showcasing work by different generations of artists and

比肯藝術中心的新展覽《新娘與單身漢：杜尚與凱奇、坎 Duchamp with Cage, Cunningham, Rauschenberg and Johns）是首個探討現代藝術家杜尚對當代藝術史上最為重要篇章的貢獻以及對其他當代藝術家的影響。展覽彙集了當時的藝術界關鍵的先鋒人物，他們的達達主義和荒誕不經的感性改變了20世紀藝術的進程：塞繆爾·貝克特（Samuel Beckett）、約翰·凱奇（John Cage）、馬塞爾·杜尚（Marcel

Duchamp）、阿爾弗雷德·雅里（Alfred

Jarry）、賈斯帕·約翰斯（Jasper Johns）和羅伯特·勞森伯格（Robert Rauschenberg）。

performers, the season allows audiences to explore the many

展覽展現了不同時代的藝術家作品和表演，在這一季的

the subversive, the provocative and the darkly humorous.

家們充滿荒誕、顛覆性、挑釁性和黑色幽默的旅程。

threads that connect them and to journey among the absurd,

活動當中，觀眾們可以從不同的脈絡來連接和探索藝術

Merce Cunningham in Walkaround Time, Merce Cunningham & Jasper Johns, 1968

Lecture On Nothing, Robert Wilson, ©Wonge Bergmann

Light Show 光之展

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HAYWARD GALLERY 海沃德畫廊博物館

David Batchelor Magic Hour (2004/7) found steel and aluminium lightboxes, found steel supports, acrylic sheet, fluorescent lights, cable and plugboards 308 x 276 x 50 cm ©the artist 2012 Photo: David Batchelor

Light Show is the first survey of light based art in the UK and brings together

the most visually stimulating artworks created in recent years, with rare

works not seen for decades and re-created especially for Hayward Gallery.

Light Show creates a sumptuous experience, engaging the viewer in

mesmerising illuminated environments over two extensive floors at the

Hayward Gallery. Twenty three large-scale installations and sculptures by major international artists from the 1960s to the present will explore the

medium of light, reacting to the surrounding architecture and operating at the edges of the spectator’s perception.

海沃德畫廊舉辦的《光之展》是英國第一次以關於“光”為媒介來策展的藝術展覽，展覽彙集了近年來最具視覺刺激的以光線為媒介的藝術作品，而且也重現了很多難得一見的作品。《光之展》營造了一個豐盛的視覺體驗，觀展者在海沃德畫廊可以體驗到超乎尋常的光線體驗，23件由重要國際藝術家創作的大型光線裝置和雕塑展現了從上世紀60年代至今，藝術家是如何探索運用光作為藝術的媒介，如何與環境產生互動以及其如何作用於觀眾的感官。

Brigitte Kowanz Light Steps (1990) fluorescent tube lamps dimensions variable Installation view, Galerie Zumtobel, Vienna © the artist Photo: Matthias Hermann

For centuries, light has been a fascination for artists, from medieval altarpieces to

Impressionist painting and photography, literally ‘writing with light’. Electric light in art, however, is a phenomenon of the twentieth century, with light-based artwork closely connected to the wider availability of electric light. From the 1960s artists started to

maximise light’s potential both as a sculptural medium and for altering the viewer’s perception of space. The artists approach light as an optical phenomenon, a spatial

and environmental experience, a factor of psychological influence, and an intangible sculptural medium. Creating specific conditions of viewership and raising questions

about perceptions and the perceiver, the visitor will be drawn into an intricate journey through five decades of light-based installation art.

Light Show includes work by David Batchelor, Jim Campell, Carlos-Cruz-Diez, Olafur Eliasson, Fischli and Weiss, Dan Flavin, Ceal Floyer, Nancy Holt, Jenny Holzer, Anne

Veronica Janssens, Brigitte Kowanz, Anthony McCall, François Morellet, Iván Navarro, Philippe Parreno, Katie Paterson, Conrad Shawcross, James Turrell, Douglas Wheeler, Cerith Wyn Evans, Leo Villareal.

幾百年來，“光”一直是藝術家著迷的對象，從中世紀的祭壇畫到印象派和攝影，都是在“用光來繪畫”。然而，隨著電力的普及，從二十世紀開始出現了以電力支持的燈光為基礎的藝術作品，從上世紀60年

Conrad Shawcross Slow Arc Inside a Cube IV (2009) edition of three, plus two artist’s proofs; mechanical system, steel and light 90 x 90 x 180 cm © the artist Image courtesy the artist and Victoria Miro Gallery, London

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展覽場地：Hay ward Galler y 海沃德畫廊

代，藝術家們開始最大限度地探索運用燈光來作為雕塑的媒介和通過光線來改變觀眾對空間感知

展覽時間：30.1.2013–28.4.2013

的潛力。此次展覽中藝術家將光線作為營造空間和環境體驗的手段，作為影響心裡的一個因素和一

更多信息：www.southbankcentre.co.uk

種無形的雕塑介質。為觀者營造一種獨特的藝術體驗，提出關於感知和感知者之間關係的問題，參觀者將被帶入一個複雜的’跨越五十年歷程的光線裝置藝術之旅。展覽包括大衛·巴徹勒（David Batchelor）、吉姆·坎貝爾（Jim Campell）、卡洛斯·克魯茲·迭斯（CarlosCruz-Diez）、奧拉維爾·埃利亞松（Olafur 萊文（Dan

Flavin）、南希·霍爾特（Nancy

Eliasson）、菲施利和魏斯（Fischli Holt）、珍妮•霍爾澤（Jenny

and

Weiss）、丹·弗

Holzer）、安妮·維羅尼卡·

詹森（Anne Veronica Janssens）、安東尼·麥考爾（Anthony McCall）、菲利普·帕雷諾（Philippe Parreno）、凱蒂·帕特森（Katie Paterson）、康拉德·肖克羅斯（Conrad Shawcross）、詹姆斯·特瑞爾（James Turrell）、道格拉斯·惠勒（Douglas Wheele）等藝術家。

Rock on Top of Another Rock 石上石

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The monumental work, Rock on Top of Another Rock, is formed of

two giant glacial boulders balanced precariously on top of each other. Situated close to the Serpentine Gallery in Kensington Gardens and

standing at over five metres tall, the work will be visible from a number Fischli/Weiss, Rock on Top of Another Rock 2012, Installation in Valdresflya, Norway, Courtesy Sprüth Magers Berlin London; Galerie Eva Presenhuber, Zürich; Matthew Marks Gallery, New York © 2012 Peter Fischli David Weiss

of viewpoints across the Park. This is the first public sculpture by the artists to be presented in the UK.

The Swiss duo Fischli/Weiss – Peter Fischli (b. 1952) and David Weiss (1946-2012) – has created some of the most memorable artworks of the past three decades and inspired many artists around the world.

The artists are best-known for their 30-minute film, The Way Things

Go (1987), which has enjoyed a reputation far beyond the art world.

Equally recognised is their long-term archival project Visible World,

created between 1987 and 2001.Their work was chosen to represent

Switzerland at theVenice Biennale in 2003, where they won the Golden Lion prize. They have exhibited extensively worldwide, with solo

exhibitions at Tate Modern, London (2006), the Centre Pompidou, Paris (1992) and Museum of Contemporary Art, Los Angeles (1988).

Fischli/Weiss,Rock on Top of Another Rock 2012, Indicative CGI, Courtesy, Sprüth Magers Berlin London; Galerie Eva Presenhuber, Zürich; Matthew Marks Gallery, New York © Peter Fischli David Weiss

《石上石（Rock on Top of Another Rock）》這件作品是將兩塊冰川期的巨石以精確的平衡摞在一起，它被安置在肯星頓花園中蛇形畫廊的旁邊，在花園的很多地方都能容易的看到這件超過5米高的雕塑作品。這也是藝術家彼得·菲施利（Peter Fischli）（生於1952年）和大衛·魏斯（David Weiss）（1946－2012）在英國的首件公共雕塑作品。瑞士藝術家彼得·菲施利和大衛·魏斯在過去的三十年里創作了很多傑出的藝術作品，他們也啟發和影響了世界各地的藝術家。他們最知名的作品《事情的本來面目(The Way Things Go)》獲得的聲譽遠遠超出了藝術界的範疇。他們另一件知名的作品是1987年到2001年創作的長期項目《可見的世界（Visible World）》。他們的作品曾經代表瑞士參加2003年的威尼斯雙年展，并獲得金獅獎。全球很多知名的美術館都展出過他們的作品：2006年在英國倫敦的泰特現代美術館；1992年在法國巴黎蓬皮杜藝術中心；1988年在美國洛杉磯當代藝術博物館。

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展覽場地：Serpentine Galler y 蛇形畫廊展覽時間：8.3.2013– 6.3.2014 更多信息：www.serpentinegaller y.org

Lichtenstein: A Retrospective 里奇特斯坦回顧展

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Tate Modern is staging the most comprehensive

exhibition ever devoted to foremost Pop artist Roy

Lichtenstein. Co-organised by The Art Institute of Chicago and Tate Modern, this is the first major Lichtenstein

retrospective for twenty years, bringing together over 125

of the artist’s most definitive paintings and sculptures. Built on new research and scholarship, the exhibition reassesses Lichtenstein’s work and his enduring legacy.

Roy Lichtenstein (1923–1997) is one of the central figures of American Pop Art. In the early 1960s he pioneered a

new style of painting, executed by hand but inspired by industrial printing processes. He became renowned for works based on comic strips and advertising imagery,

coloured with his signature hand-painted Benday dots, as an ongoing examination of representation and originality

英國倫敦泰特現代美術館正在展出有史以來最全面的一次對重要的波普藝術家羅伊·里奇特斯坦（Roy Lichtenstein）的回顧展。此次展覽由美國芝加哥藝術研究院和泰特美術館共同舉辦，是第一個關於里奇特斯坦20年來藝術創作歷程的大型回顧展覽，展覽彙集了125 件藝術家最具代表意義的作品，通過新的研究和學術成果，展覽重新審視了里奇特斯坦的作品和他留給我們的不朽遺產。 OH, JEFF... I LOVE YOU, TOO... BUT... ROY LICHTENSTEIN, 1964, Collection Simonyi, Estate of Roy Lichtenstein/DACS 2012

羅伊·里奇特斯坦（1923-1997）是美國波普藝術運動的核心人物之一。在上世紀60年代初，他開創了一種新的繪畫風格，手繪類似於工業印刷工藝的繪畫。他因為那些基於廣告和連環畫圖像而創作的作品而知名，他那手繪的色點成為了其風格和符號，同時也在大眾媒體文化下成為了持續對代表性和原創性進行審視的象徵。展覽展示了很多藝術家的重要畫作，比如由華盛頓國家藝術館收藏的《看米奇（Look Mickey 1961）》；由英國泰特美術館收藏的《Whaam！（1963）》和紐約現代藝術博物館收藏的《溺水的女孩（Drowning

WHAAM! ROY LICHTENSTEIN, 1963, Tate, Estate of Roy Lichtenstein/DACS 2012

in mass media culture. This exhibition showcases such key paintings as

Look Mickey 1961 (National Gallery of Art, Washington), Whaam! 1963 (Tate) and Drowning Girl 1963 (Museum of Modern Art, New York).

The artist’s rich and expansive practice is represented by a wide range of

materials, including paintings using steel, as well as sculptures in ceramic and brass and a selection of previously unseen drawings, collages and works on paper.

Alongside the classic paintings of romantic heroines and scenes of war for which Lichtenstein is well known, this exhibition shows other early

Pop works, such as images of everyday objects in black and white. Also on

display are Lichtenstein’s artistic explorations depicting landscapes, mirrors and so-called ‘perfect’ and ‘imperfect’ paintings, as well as works which

highlight Lichtenstein’s engagement with art history, revealing his lesserMASTERPIECE ROY LICHTENSTEIN, 1962, Private Collection, Estate of Roy Lichtenstein/DACS 2012

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known responses to Futurism, Surrealism and German Expressionism. In

the final years of his life, the artist went on to create a series of huge female nudes and sublime Chinese landscapes, neither of which have previously been shown within the wider context of his oeuvre. Girl

1963）》。藝術家通過採用廣泛的材料來豐富和拓展他的藝術實踐，包括使用鋼

條、陶瓷和黃銅製作的雕塑，紙上拼貼等。展覽場地：Tate Modern 泰特現代美術館展覽時間：21.2.2013–27.5.2013 更多信息：www.tate.org.uk

除了里奇特斯坦經典的浪漫的女主角和戰爭場景的經典畫作外，這個展覽還展示了其他的早期的流行音樂作品，比如黑白的日常物品的圖像，另外還展出了他的素描作品，比如風景、鏡子、還有所謂的“完美”和“不完美”的繪畫，同時也展出了他與藝術史發展所相關的鮮為人知的作品，比如他對未來主義、超現實主義和德國表現主義等思潮的反應。在他生命的最後時光里，他開始創作巨幅的女性裸體和中國山水繪畫，這些都是首次展現在大眾面前。

Xu Bing: Landscape Landscript 徐冰：山水詩畫

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ASHMOLEAN MUSEUM 阿什莫林博物館

Xu Bing’s version of Zhai Dakun’s Admiring the Spring from a Thatched Cottage, 2008 From set of four landscape lithographs printed in two colours on Entrada Natural Rag 300 gram paper, edition of 30, Universal Limited Art Editions, New York © Courtesy of Xu Bing Studio

The Ashmolean’s 2013 exhibition programme opens with the Museum’s first major exhibition of contemporary art. Xu Bing has become one of China’s best known and critically acclaimed artists, exhibiting in

solo exhibitions and winning awards around the world. Landscape

Landscript will be the first exhibition devoted to his landscapes.

Born in Chongqing, southwest China, in 1955, Xu Bing grew up in Beijing. During the Cultural Revolution (1966–76) he was sent to the countryside

for ‘re-education’ after which he studied printmaking, becoming successful as both an artist and teacher. He left China for the United States in 1990 and in 1999 received the MacArthur ‘Genius Award’. His subsequent awards include the Fukuoka Asian Culture prize (2003) and the first

Artes Mundi prize (2004). In 2008 he returned to Beijing to become Vice

President of China’s foremost art institution, the Central Academy of Fine Arts (CAFA). He has exhibited at the Smithsonian Institution, Washington

DC; the New Museum of Contemporary Art, New York; and the Joan Miro Foundation, Spain, amongst other major institutions.

阿什莫林博物館2013年的第一個大型展覽是關於中國當代藝術家徐冰的《山水詩畫（Landscape Landscript）》，這也是博物館第一次舉辦大型的當代藝術展覽。徐冰是中國最為知名和廣受好評的當代藝術家，他的作品在世界各地展出和獲獎。《山水詩畫》是第一個探討他水墨風景畫作的展覽。 1955年，徐冰出生在中國重慶，後再北京長大，在“文革”期間，他被送到農村接受“ 再教育”，後來他學習版畫并成為了成功的藝術家和教師。1990年，他來到美國並於 1999年獲得麥克阿瑟“天才獎（Genius

Award）”，隨後他還獲得了包括福岡亞洲文

化獎（Fukuoka Asian Culture prize 2003）和第一屆世界藝術獎（Artes Mundi prize 2004）。在2008年，他回到北京成為中央美術學院副院長。他的作品曾經在華盛頓史密森學會，紐約新當代藝術博物館，和西班牙米羅基金會等機構展出。

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展覽場地：Ashmolean Museum 阿什莫林博物館展覽時間：28.2.2013–19.5.2013 更多信息：www.ashmolean.org

Landscript, 2013 Ink on Nepalese paper 80 x 367 cm © Courtesy of Xu Bing Studio

Central to all Xu Bing’s art is the theme of language: its uses and changes; misunderstandings; and dialogues

within and between cultures. As a Chinese artist, Xu Bing has focused particularly on the pictorial quality of the

Chinese language, which he maintains, lies at the core of Chinese culture. His Landscript series uses Chinese

characters for landscape features to compose landscape paintings which have the appearance of traditional

Chinese landscapes, as developed since the Song dynasty (960–1279). In this way, characters for ‘stone’ make up an image of rocks; the character for ‘tree’ makes up

trees; and ‘grass’ for grass and so on. His Landscripts

will be displayed alongside his early landscape sketches and prints, with more recent works, which depart from traditional landscape styles. He has also selected a

number of European landscapes from the Ashmolean’s collections in order to explore how different traditions

interact and to throw light on the fundamental elements of Chinese culture.

徐冰的藝術圍繞著語言為主題：語言的用途、變化、誤解、以及和不同文化之間的對話。作為一個中國藝術家，徐冰一直專注于中國語言的符號和圖像，他認為這是中國文化的核心。他的《山水詩畫》系列作品用中國文字符號組成山水畫，採用中國宋朝古畫的表 Family Plots © Courtesy of Xu Bing Studio

現形式，在這種形式中“石”的表現就是一塊岩石，用“樹”組成樹，以此類推。此次展覽也展示了徐冰早期的山水寫生和版畫，和他最近的作品對比來看，他早期的實踐是大大不同於傳統水墨風格的。他也在阿什莫林博物館的藏品中選出了一些歐洲的風景畫作品，用來展現和探討不同的傳統對繪畫和藝術發展內在互動的影響。

The Wonder Project 奇蹟計劃

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WELLCOME TRUST 威康信託基金會

The Barbican and the Wellcome Trust, two leading organisations in the worlds of art and science,

announce the full programme for ‘Wonder: Art and Science on the Brain’, which will see the public, artists and neuroscientists rub shoulders - and minds

- to explore the inner workings of the brain, our most complex organ.

The season has been inspired by the British

Neuroscience Association’s Festival of Neuroscience,

a scientific conference of some of the greatest minds in brain research from across the globe that is to be

held at the Barbican in April. The Wonder season will feature films, music, theatre, talks and participation, and a wealth of hands-on experiments for all ages.

Illusions, experiments, arts, theatre and game play will dominate the Barbican foyers at both the Barbican Weekender and Wonder: Street Fair, and a special

brain-themed flash mob will explore the role of dance in mood and emotion.

Sonic Tour of the Brain. Credit: Wellcome Library, London. @wellcome.ac.uk

Beastly Brains. Wonder: Art and Science on the Brain. Credit: Wellcome Library, London. @wellcome.ac.uk

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活動場地：Barbican Centre 巴比肯藝術中心展覽時間：2.3.2013–10.4.2013 更多信息：www.wellcome.ac.uk

Consciousness, Professor Marcus du Sautoy, Credit Mark Allan

Traumatic Brain Injury, Recovery and Treatment. Credit: Wellcome Library, London. @wellcome.ac.uk

Clare Matterson, Director of Medical Humanities and Engagement at the Wellcome Trust, said: “As humans, we have an enduring

fascination with the brain and how it makes us ‘us’, individual and unique. How much can we learn about its inner workings from

art and science?” Sir Nicholas Kenyon, Managing Director of the

Barbican, said: “The relationship between art and science is nearly as complex and intricate as the brain itself. This season provides a

fantastic opportunity to explore the brain and how it relates to the many strands of human creativity. ”

英國巴比肯藝術中心和威康信託基金會這兩個在藝術界和科學界具有領導力的組織聯合發起了“奇蹟：關於大腦的藝術與科學”項目，這將會彙集民眾，藝術家和神經學家的積极參與，來共同探索我們最複雜的器官——大腦的內部運作。這一個活動季的靈感是來自英國神經科學協會的“神經節”的啟發，今年4月在巴比肯中心，來自世界各地的頂尖學者和科學家會彙聚於展開對大腦研究的學術會議。“奇蹟計劃”將會包括電影、音樂、戲劇、講座等活動，另外也會有大量的互動和適合各個年齡層面的動手實驗項目。幻想、實驗、藝術、戲劇和遊戲將會在週末佔據巴比肯藝術中心的大廳和街道，而且一個特殊的大腦為主題的快閃活動，也會用來探索舞蹈在情緒和情感之間的作用。威康信託基金醫學人文總監克萊爾·馬特森（Clare

Matterson）也表示：“作為

人類，我們對大腦和大腦如何塑造具有不同個性的我們一直都是心馳神往和充滿好奇的。我們從藝術與科學的角度上能多大程度地了解大腦的內部運作呢？”巴比肯總監尼古拉斯·凱尼恩爵士（Sir Nicholas Kenyon）表示：“藝術與科學之間的關係正像大腦一樣錯綜複雜，這一季的活動正好提供了一個絕好的機會去探索大腦以及它如何產生各種迷人的創意。” The Carnival of Lost Emotions. Credit: Wellcome Library, London. @wellcome.ac.uk

Karl Blossfeldt 卡爾·博羅斯費萊德特

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WHITECHAPEL GALLERY 白教堂畫廊

Adiantum pedatum Northern Maidenhair Fern Young Rolled-up Fronds Gelatin Silver Print 29.9 x 23.8cm Long-term loan from Berlin University of the Arts

The Whitechapel Gallery presents a major exhibition of Karl

在白教堂畫廊正在舉辦卡爾·博羅斯費萊德特

(1865- 1932) was a pioneering German photographer

博羅斯費萊德特（1865－1932）是一位極具開創

Blossfeldt’s historic photographs and publications. Blossfeldt who came to prominence in the 1920s. A trained sculptor,

draughtsman and teacher, he created exquisitely beautiful, close-up photographs of plants.

（Karl Blossfeldt）的歷史照片和出版物的展覽。性的德國攝影師，他在上世紀20年代開始嶄露頭角。他是一位訓練有素的雕塑家、繪圖師和教師，創造出精美絕倫的植物特寫照片。

Celebrated internationally for his significant contribution

展覽展示了博羅斯費萊德特對自然和藝術領域

of the defining photographers of the twentieth century.

的一位攝影師。他的一生致力於研究自然界內

to the field of art and nature, Blossfeldt is regarded as one He was committed to the study of form within nature and

dedicated 35 years to exclusively photographing botanical

subject matter. Developing a series of homemade cameras

that allowed him to photograph plant surfaces in magnified

detail, his stark, objective approach emphasised the detailed beauty of nature.

做出的傑出貢獻，他被視為20世紀極富代表意義部生成的模式，並且用35年的時間專注于植物題材攝影。博羅斯費萊德特開發了一系列的自製相機，並用它們拍攝極致精細的植物細節，形成了他鮮明客觀的態度——凸顯大自然在每一個細節之美。

Passiflora Passion Flower Bud Gelatin Silver Print 30.0 x 23.9cm Long-term loan from Berlin University of the Arts

The exhibition includes over 80 original photographic prints made by

Blossfeldt from the late 19th century until the end of his life alongside key archive material showing Blossfeldt’s significant influence, from Georges Bataille to LaszloeMoholy-Nagy.

Working at a pivotal moment between Art Nouveau and Modernism, Blossfeldt’s work became one of the major influences in early 20th

century modernist art. Praised by Walter Benjamin, adopted by the

Surrealists and mass produced in magazines, his photographs formed a catalogue of patterns that reflect architectural and artistic designs

throughout the ages. His work captured the spirit of New Objectivity, a

cultural movement developed as a critical reaction to Expressionism that asserted a factual, direct approach to a subject.

Dipsacus laciniatus Cutleaf Teasel, Opposite Leaves at Stem Before 1926 Gelatin Silver Print 29.7 x 23.7 cm Long-term loan from Berlin University of the Arts

Fraxinus ornus Manna Ash Opening Bud of Blossom Gelatin Silver Print 29.7 x 23.7 cm Long-term loan from Berlin University of the Arts

本次展覽共展出了超過80幅博羅斯費萊德特從19世紀末期至他去世前所創作的原版攝影作品，而且還有很多關鍵的文獻資料，同時也揭示了博羅斯費萊德特對於從喬治巴塔伊（Georges Bataille）到拉斯洛莫霍利﹣納吉（Laeszloe Moholy-Nagy）等人的巨大影響。博羅斯費萊德所處的時代背景是在新藝術時期和現代主義之間的關鍵時期，他的作品和創作成為了影響20世紀初現代主義藝術的重要因素。通過雜誌的大量使用和超現實主義者的推廣，瓦爾特·本雅明（Walter Benjamin）也稱讚他的作品已經形成了目錄似的體制，記錄和反映了多年來建築和藝術設計的發展情況。他的作品記錄了新的客觀主義精神（新客觀主義是指一個針對表現主義而發展出來的文化運動，它強調確立事實和用直接的方式來探討一個主題。）

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展覽場地：Whitechapel Galler y 白教堂畫廊展覽時間：16.4.2013–14.6.2013 更多信息：www.whitechapelgaller y.org

Sambucus racemosa Red Elderberry Bud of Blossom Gelatin Silver Print 29.9 x 23.9cm Long-term loan from Berlin University of the Arts

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DESIGN MUSEUM 倫敦設計博物館

The website GOV.UK has won the Design Museum Design of the Year

Award 2013. This revolutionary website designed by the Government Digital Service (GDS) combines all of the UK government’s websites

into a single domain. The jury unanimously agreed that GOV.UK was

The seven category winners of 2013 2013年度設計獎七大類別獲獎作品

the overall winner for Design of the Year 2013 for its well thought out

Digital 數字化設計

The website is regarded as one of the leading government websites

yet understated design, making the user experience faster and easier. in the world.

The Rt Hon David Cameron MP, Prime Minister and Conservative

Party Leader said:‘I am delighted that the GOV.UK website has won

the Design of the Year Award 2013. This government is committed

to being the most transparent in the world. For the first time, people can find out what’s happening inside government, all in one place, and in a clear and consistent format. It is just another example of

Britain’s world class design talent standing out on the global stage; in this case helping to enhance the modern relationship between the public and government.’

英國政府官方網站GOV.UK獲得了英國設計博物館2013年度設計大獎。這一具有革命性的網站是由英國數字化服務（GDS）部門設計的，它將整個英國政府部門和服務網站整合為一個統一運行的網絡。評審們一致認為GOV.UK網站獲此殊榮是因為其深思熟慮的設計思路和樸實無華的視覺效果，而且在功能上更為人性化，具有更優悅的用戶體驗。這個網站被認為是目前世界上最為優秀的政府網站之一。英國首相卡梅倫表示：“很高興英國政府的官方網站GOV.UK獲得2013年度設計大獎。英國政府正在致力於打造世界上最透明的行政系統，現在我們終於第一次實現了民眾可以在一個地方，用一種統一明確的方式來得知政府裡面發生了什麼，以及它是如何運轉的。這也是英國設計在全球舞臺上脫穎而出的另一個例子，它將有助於提升和促進現代公眾和政府之間的聯繫。”

GOV.UK WEBSITE

GOV.UK網站，設計者－英國政府數字化服務

Fashion 時裝設計

DIANA VREELAND: THE EYE HAS TO TRAVEL Directed by Lisa Immordino Vreeland

DIANA VREELAND: THE EYE HAS TO TRAVEL，設計者﹣Lisa Immordino Vreeland

Architecture 建築設計

TOUR BOIS-LE-PRETRE, PARIS

設計者－Druot, Lacaton and Vassal

Furniture 家居設計

MEDICI CHAIR - Designed by Konstantin

Grcic for Mattiazzi

MEDICI CHAIR，設計者－Konstantin Grcic

Graphics 平面設計

VENICE ARCHITECTURE BIENNALE IDENTITY Designed by John Morgan Studio

威尼斯建築雙年展的視覺識別，

設計者－約翰·摩根工作室（John Morgan Studio）

Product 產品設計

KIT YAMOYO

KIT YAMOYO，設計者－ColaLife和PI Global

Transport 交通運輸設計

MORPH FOLDING WHEEL

MORPH FOLDING WHEEL，

設計者﹣Vitamins for Maddak Inc.

The Arrest of Ai Weiwei 逮捕艾未未

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HAMPSTEAD THEATRE 漢普斯特德劇院

Ai Weiwei

Howard Brenton’s new play ‘The Arrest of Ai Weiwei’ is based on Ai Weiwei’s account in Barnaby Martin’s book Hanging Man, which is directed by James Macdonald, and

Howard Brenton’s new play is based on recent conversations with Ai in which he told the story of that imprisonment - by turns surreal, hilarious, and terrifying. A portrait of the Artist in extreme conditions, it is also an affirmation of the centrality of Art and of freedom of speech in civilised society.

On 3 April 2011, as he was boarding a flight to Taipei, the Chinese Artist Ai Weiwei was

arrested at Beijing Airport. Advised merely that his travel “could damage state security” he was escorted to a van by officials, after which he disappeared for 81 days. On his release, the government claimed that his imprisonment related to tax evasion.

©Stephen Cummiskey 2013

霍華德·布倫頓（Howard （Barnaby

Brenton）的新劇是根據巴納比·馬丁

Martin）的《吊着的人（Hanging

Man）》當中的

關於艾未未的故事改編的，本劇由詹姆斯·麥克唐納（James Macdonald）導演，黃本尼迪克特（Benedict Wong）扮演艾未未，阿什利·馬丁·戴維斯（Ashley Martin Davis）負責設計。霍華德·布倫頓的新劇是基於最近他與艾未未的對談，艾未未講述了他被監禁的故事，展示了一個在極端條件下的藝術家的肖像，也是對藝術和自由言論在文明社會中的一種肯定。 2011年4月3日，中國藝術家艾未未在北京機場被捕，在這之後他就消失了81天。關於艾未未的被捕，政府聲明是因為他涉嫌相關的稅務問題。

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展覽場地：Hampstead Theatre 漢普斯特德劇院展覽時間：11.4.2013–18.5.2013 更多信息：www.hampsteadtheatre.com

©Stephen Cummiskey 2013

David Bowie is 關於大衛·鮑伊

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V&A MUSEUM 維多利亞和阿爾伯特博物館

Striped bodysuit for Aladdin Sane tour Artist: Design by Kansai Yamamoto. Photograph by Masayoshi Sukita, Date: 1973 © Sukita / The David Bowie Archive 2012

David Bowie and William Burroughs Date: 1974 Photograph by Terry ONeill Courtesy of The David Bowie Archive 2012

The V&A has been given unprecedented access to the David Bowie

Archive to curate the first international retrospective of the extraordinary career of David Bowie - one of the most pioneering and influential

performers of modern times. David Bowie is will explore the creative

processes of Bowie as a musical innovator and cultural icon, tracing his shifting style and sustained reinvention across five decades.

The V&A’s Theatre and Performance curators, Victoria Broackes and Geoffrey Marsh, have selected more than 300 objects that will be

brought together for the very first time. They include handwritten lyrics,

original costumes, fashion, photography, film, music videos, set designs, Bowie’s own instruments and album artwork. The V&A will take an indepth look at how David Bowie’s music and radical individualism has

both influenced and been influenced by wider movements in art, design and contemporary culture. The exhibition will also demonstrate how

he has inspired others to challenge convention and pursue freedom of expression.

The exhibition will explore the broad range of Bowie’s collaborations with artists and designers in the fields of fashion, sound, graphics,

theatre, art and film. On display will be more than 60 stage-costumes

including Ziggy Stardust bodysuits (1972) designed by Freddie Burretti, Kansai Yamamoto’s flamboyant creations for the Aladdin Sane tour (1973) and the Union Jack coat designed by Bowie and Alexander

McQueen for the Earthling album cover (1997). Alongside these will be

more personal items such as never-before-seen storyboards, handwritten set lists and lyrics as well as some of Bowie’s own sketches, musical

scores and diary entries, revealing the evolution of his creative ideas.

Promotional shoot for The Kon-rads Artist: Photograph by Roy Ainsworth Date: 1963 Courtesy of The David Bowie Archive 2012. Image © V&A Images

Photo collage of manipulated film stills from The Man Who Fell to Earth Artist: Design by David Bowie, film stills by David James Date: c1975-6 Courtesy of The David Bowie Archive 2012. Film stills © STUDIOCANAL Films Ltd

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展覽場地：V&A Museum 維多利亞和阿爾伯特博物館展覽時間：23.3.2013–28.7.2013 更多信息：www.vam.ac.uk

英國維多利亞和阿爾伯特博物館為策划此次關於大衛·鮑伊整個職業生涯的回顧展，收集和整理了大量的關於大衛·鮑伊的檔案資料，來全方位地展示這位近代極為先鋒和極富影響力的表演者。《關於大衛·鮑伊（David Bowie is）》展示了大衛·鮑伊作為一位音樂革新者和文化標誌的跨越五十年的職業生涯和創作歷程。維多利亞和阿爾伯特博物館的策展人們挑選了超過300件的展品，這些相關的檔案資料都是對外的首次進行綜合展示，其中包括大衛·鮑伊的歌詞手稿、演出服、時裝、攝影、電影、音樂視頻、設計、樂器及專輯封面。展覽深入的揭示了大衛·鮑伊的音樂和極端的個人主義風格是如何與廣泛的藝術運動、設計思潮及當代文化之間產生互動的。展覽展示了他是如何挑戰傳統和追求自由的表達，從而帶給我們啟發。展覽也展示了鮑伊與時裝、聲音、平面設計、戲劇、藝術和電影領域的藝術家和設計師之間的廣泛合作。展覽展出了超過60件演出服，其中包括弗雷迪·貝芮緹（Freddie Burretti）設計的齊格星塵緊身衣（Ziggy Stardust bodysuits 1972），山本寬齋（Kansai Yamamoto）設計的龍鳳外衣及鮑伊和亞歷山大·麥昆（Alexander

McQueen）一起設

計的米字旗夾克。此外，展覽還展示了很多鮑伊的私人物品，如從未公開展示的歌詞草稿、樂譜、日記等，揭示了他創作過程和思想的演變。

www.bulletpincreative.com

Art Foundation 藝術基金會

For a long time, our understanding of the development and academic

很長一段時間以來，我們對西方當代藝術的發

little is known about the non-profit trusts and foundation systems, which

是對整個西方當代藝術發展背後起到推廣和

theory of western contemporary arts has been profoundly in-depth. But promote and support the entire development of western contemporary

arts. Looking into the global art world, the whole art institutions, art movements, art fairs and art practice are inextricably linked with art trusts and foundations. Therefore, it is crucial to understand the operation of the

art trusts and foundations in the west, which enables us to understand the whole art ecosystem.

展和學術理論都已經有了相當深入的了解，但支持作用的非公益信託和基金會體系卻知之甚少。放眼全球的藝術界，整個藝術機構、藝術運動、藝術博覽會及藝術實踐當中都與藝術信託及基金會有著密不可分的聯繫，因此了解西方藝術信託和基金會的運作對我們了解整個當代藝術生態有著至關重要的作用。

With the development of contemporary society as well as the increasing

隨著當代社會的發展，在物質生活不斷豐富的

and the desire of culture and art have become more and more significant.

的渴求越來越顯著，但是在商業市場高度發達

richness of present material life, the construction of the spiritual realm

However, in the present highly developed commercial market, it is difficult to ensure the high quality and diversity of the art field only in the means of market and capital operation whose purpose is to seek profits. And the

related academic research and experimental art exploration, which are not easy to gain short-term profits but at the same time are of great importance,

are always difficult to develop driven purely by economic interests. In view of

this situation, many countries have released varied policies and regulations to promote the healthy development and continuous prosperity of culture

and art, and also to mobilize social resources in multiple levels from the

nation, enterprises to individuals, by the concept of transmitting public trusts into culture and art activities in order to support art practice.

In recent years, China has also strongly promoted the development and

dissemination of national culture. However, its operational and system integrity remains in its initial stage. In the west, it has formed a relatively developed operation and supervision system in non-profit trusts and

foundations. Therefore, in this issue we will take the UK as an example, to

introduce the contribution of non-profit trusts and foundations through their concept development and also the operation experience. Some distinctive British charitable art funds will also be introduced. And we will

provide a clue to understand the non-profit trusts and foundations in the

UK, and offer some references to improve and promote the supporting system for culture and arts in China.

當下，人們對精神領域的建構和文化藝術方面的今天，僅僅通過市場和趨利為目的資本運作是很難保證文化藝術領域發展的高質量及多樣性，而且相關的如學術研究和實驗性的藝術探索，這樣不容易短期獲得收益卻又是極其重要的基礎部門往往很難在純粹經濟利益的驅動下獲得發展。鑒於此種情況，很多國家為了推動文化藝術的健康發展和持續繁榮都出台了各種政策和法規，從國家、企業、個人等多個層面來調動廣大社會資源，將公益信託觀念導入文化活動支持純粹的文化藝術活動。中國近年來也在大力的推動本國的文化發展和傳播，但從操作性和系統完善性上來看還僅僅是處在起步階段。由於西方在公益信託基金等方面已經形成了相對完善的操作體系和監管制度，因此在這一期的雜誌專題當中我們將以英國為例，通過對其公益信託及基金會概念的發展過程和操作經驗來介紹其對英國文化藝術發展做出的貢獻，同時我們也將介紹一些較有特色的英國公益性藝術基金，給大家提供一條了解英國非盈利信託和基金會的線索，同時也希望為改善和促進國內文化藝術支持系統提供一些參考。

British Charitable Trust System 英國公益信託制度 Text by 撰文 x Harry Liu 劉競晨

TRANSLATED BY 翻譯 x Syndi Huang 黃煥欣

History of British charitable trusts

英國公益信託基金簡史

Charitable trusts originated in the medieval Britain. Devout Christians and Catholics

公益信託最早發源於英國中世紀 , 虔誠的基督

the increasing amount of funding, the Church utilised abbeys and monastery tight-knit

之用。隨著數量逐漸增加，教會也利用僧院、修

donated personal properties to the Church with the purpose to relieve poverty. With

organizations to hold activities from purely religious events expanding to educational, medical and agricultural production secular charitable activities. This is the historical

background how charitable trusts are born. By the 16th century, Henry VIII recovered

the prohibition of legal land ownership, prohibiting to setting more than 20-year trusts in the name of religion. It thus resulted in the decline of charitable trusts within the

main form from the Church. Due to the country’s underdeveloped social policies, civil

charitable trusts turned to be used. Thereafter came the rise of public welfare with the aim to save the poor. The development of the British charitable trust system is closely

related to the spirit of Christian ethics. It is fundamentally a spontaneous folk behaviour of mutual help, and also gave the birth to the profound cultural foundation of the National Trust after hundred years.

教與天主教徒將個人財產捐贈給教會救濟貧困道院綿密的組織，從單純的信仰活動擴展至教育、醫療、農業生產等世俗公益活動，此為公益信託發軔之背景。到了16世紀，亨利八世恢復禁止法人享有土地所有權的規定，並禁止以宗教為名設定超過20年的信託，造成以教會為主體的公益型態式微，而當時國家的社會政策又不發達，民間公益信託轉而被利用，促成以救貧為目的的公益事業興起。英國公益信託制度的發展與基督教倫理精神息息相關，基本上是一種民間自發性的互助行為，也孕育了百年後國民信託的深厚文化基礎。

By the 19th century, the charitable trusts are abusedly employed as a tax evasion tool. In

到了19 世紀，公益信託有被私人濫用作為逃

establishing the charitable trust supervising mechanism. Based on “The Charitable Trusts

託制度發展的重點便在建立公益信託的監督

order to prevent its vicious development, the focus of developing trust system was laid in Act” in 1853, British government set up Charity Commission to supervise, inspect and

counsel for charitable trusts. Before its abolishment in 1939, The Charitable Trusts Act

was being applied as the legal basis for British charitable activities. After World War II, the

Committee On The Law And Practice Relating To Charitable Trusts was founded. The Charities Act established in 1960, after a few amendments, provides detailed

provisions of the subject of charitable activities (including charitable corporations and

charitable trusts), the right strengthening of competent authority, the establishment of registration system and management mechanism of free property.

British Charitable trust system’s contribution to the development of British culture and the arts In contemporary Britain, the cultural development is rarely dominated by the official

稅工具的趨勢，為了防止可能的弊病，當時信機制。依據1853年制定的《公益信託法》( T he Charitable

Trusts

Ac t)，英國政府設立「公

益委員會」 (Charit y Commission)作為公益信託的監督、檢查與輔導機關，至1939 年廢止前，《公益信託法》一直為英國公益活動主要的法律依據。二次大戰後，「公益信託法與營運委員會」(Commit tee On The Law And Prac tice Relating To Charitable Trusts) 成立，1960年通過《公益法》( The

Charities

A c t )，之後歷經多次修正，對於公益活動的主體 (包含公益法人與公益信託 )、主管機關權限的強化、確立登記制度與免稅財產管理機制等都有了詳盡規定。

government. The government’s function largely exists in cultural project commissions

英國公益信託基金體系對英國

forces for promoting art and culture development; through the establishment of laws

文化藝術發展的貢獻

variety of non-government agencies and organizations came into being, to take up the

當代英國，文化的發展方向很少有來自政府官

prosperity and development of culture and the arts. Among them, the non-profit trust

文化項目的委託和監管方面，也就是通過政策

and regulatory aspects, that is, through the means of setting policies to stimulate local and regulations to protect the healthy operation of culture and the arts. Ever since, a responsibilities of research, preservation, promotion and creation, as to promote the fund system is the source of the entire British art ecosystem.

Thousands of non-government organizations are in operation in the United Kingdom, the backbone of which is those trusts and foundations with enormous financial

resources, which have access to every social aspect. They can be divided into public foundations, corporate foundations and individual foundations. All the foundations

are able to gain the preferential tax policy under the supervision of the law, which also

方的主導，在很大程度上政府的職能存在於對激發民間的力量推動文化藝術的發展；通過設立法律法規來保障文化藝術領域健康的運轉。於是乎形形色色的非政府機構和組織應運而生，肩負起研究、保存、推廣和創作等各項職責，推動文化藝術的繁榮發展。其中，非盈利的信託基金體系便是整個英國藝術生態系統的生命之源。

means to invest part of the government income into broader

英國有成千上萬的非政府組織，其中的中堅力

individuals can obtain a better social image.

觸及到社會的方方面面，大致可以分為公立基

social affairs. And at the same time, business corporations and

In the UK, the arts trusts and foundations mainly provide financial and technical supports for art creativities, art exhibitions, art research, art protection and art collection. So to speak, the

prosperity of British contemporary arts and culture could not ever exist without arts foundations.

In the UK, the non-profit foundations of the culture and arts

are the main advocates for publicizing contemporary arts. They provide a major route of transmission, including museums

under the name of the foundations, galleries and art institutions,

量是擁有巨大財力的各色信託和基金會，他們金會、企業基金會及個人基金會。各類基金會在法律的監督下獲得優惠的稅收政策，也就是將政府的一部份收入投入到更廣泛的社會事務當中，同時企業和個人也可以獲得更加良好的社會形象。在英國，藝術信託和基金對藝術的贊助主要是對藝術創作、展覽、研究、保護、收藏等方面的資金、技術支持。可以說，沒有藝術基金會就沒有英國當代藝術和文化的繁榮局面。

to realize an initial stage of culture and art spreading through

英國的基金會大致有幾種類型，一是綜合性基

media release, conferences and art education for further and

四是由私人收藏或畫廊演變而成的基金會。

exhibitions and collections, then through books publishing,

wider publicity, as to promote a socially profound and broad understanding of arts in all levels of the aesthetic, historical,

cultural, social and economic significance. Britain’s culture and

金會，二是政府相關基金會，三是企業基金會，在英國，非盈利文化藝術基金會是當代藝術主要推動者，它們提供了主要的傳播途徑，這裡包括基金會背後的各級別的美術館、畫廊和一

art non-profit foundations accelerate the prosperity of art development within

its order, which relate to art production, collection and dissemination, and

introduce new artworks to the world

by means of art creation projects. They

also collect arts from different times and cultural backgrounds, while taking the

initiative for external dissemination, laying

a significant platform for the development of contemporary human culture.

But there are fears that the strict

foundation system and its professional operation, and also its intense

involvement with contemporary arts, will exert an objective and profound impact on the development of contemporary arts. It is due to the reason that the recognition and power of decision making of arts are no longer the

artists’ consciousness or spontaneous

behaviours. But instead, art trusts’ and

foundations’ strong capital strength and

effects of their publicity are more likely to influence the degree of public awareness and acceptance of artworks.

些藝術機構；通過展覽、收藏的方式進行第一層面的傳播，通過出版書籍、媒體發布、研討會議、藝術教育等進行深度和廣度上的傳播，促進全社會對藝術在美學、歷史、文化、社會以及經濟各個層面上的意義深刻廣泛的認識。英國的文化藝術類非盈利基金會促進了藝術發展的繁榮而有序，它涉及到藝術生產、匯集和傳播過程，它通過對藝術創作項目為世界提供新的藝術品；也收藏來自各個時代各種文化背景的藝術；又主動對外傳播，為當代人類文化發展提供了重要的平台。但也有人擔心，基金會制度的嚴格和專業化操作以及對當代藝術的深度介入會客觀的和深刻的影響當代藝術的發展進程，因為對藝術的認可和決策力量已經不僅僅是藝術家的自覺和自發行為，藝術信託和基金會的強大資本力量和宣傳效果很可能會影響大眾對藝術品的認知和接受程度。

Arts Council England 英格蘭藝術委員會 Text by 撰文 x Mo Ming 莫名

translated by 翻譯 x Peter Vautier

In 1940, during the Second World War, the Council for the Encouragement of Music and the Arts (CEMA), was appointed

的前身可以追溯到二戰時期。為了保存英國

government-funded and after the war was renamed the Arts

（Council for the Encouragement of Music

to help promote and maintain British culture. The Council was Council of Great Britain.

Subject to different political parties, different policies and with

“英格蘭藝術委員會（Arts Council England）” 文化和促進其發展，“ 促進音樂藝術理事會 ” and the Arts <CEMA>）於1940年正式成立，這個由政府出資和管理的組織在二戰以後被重新命名為“大不列顛藝術委員會（Arts Council

different managers, the development of the Arts Council of Great

of Great Britain）”。

that from the 1950s to the early 1990s the Council made little

在二戰後很長一段時間，礙於由政府出資和管

Britain became mired in politics and bureaucracy. It is argued contribution in the fields of culture and art.

In 1994, the Arts Council of Great Britain was divided into three

separate bodies, Arts Council England, Scottish Arts Council and Arts Council of Wales. Since then Arts Council England has been

a non-departmental public body of the Department of Culture,

Media and Sport, responsible for distributing lottery funding. This

理，大不列顛藝術委員會在很大程度上成為了政治遊戲和官僚主義的遊樂場，受盡了不同政黨、不同政策及不同管理者的影響，所以這個委員會的發展可以說是一波三折，從二十世紀 50年代到90年代初並沒有在文化藝術領域做出太多的貢獻。

investment has helped fund and develop many arts institutions

直到1994年，大不列顛藝術委員會按地區劃分

arts activities. The arts funding system in England underwent

（Arts Council England）”、“蘇格蘭藝術委員

and organizations, as well as a large number of high-quality

considerable reorganization in 2003 when all of the regional

為三個獨立委員會，分別為“英格蘭藝術委員會會（Scottish Arts Council ）”及“威爾士藝術委

arts boards were subsumed into Arts Council England. Today,

員會（Arts Council of Wales）”。至此，英格蘭

organization committed to promoting performance art, visual art

體育部監管下的一個非政府公共機構，負責對

Arts Council England has been a significant government-funded and literary in England.

From the development history of Arts Council, it is easy to see

藝術委員會正式成為了一個由英國文化媒體和應的國家彩票資金分配。這項投資已經幫助了眾多藝術機構的建設，以及資助了大量高品質的藝術活動。現在，英格蘭藝術委員會是一個

that national arts funding in the UK is closely related to the state of social, political and economic development. Following the

different stages of social development, government’s changing

由政府資助但獨立運作的機構，致力於推動表演、視覺藝術和文學藝術。

definition of arts development had a great impact on the whole

從英格蘭藝術委員會的歷史變遷上不難看

to the 90s, the Arts Council, under government administration,

經濟、政治及社會的發展是息息相關的。在社

development of the funding system. From the Second World War existed as a general governmental department. However, after

the Labour Party coming to power in the late 90s, culture and arts were used as major means of public engagement and promoting new areas of economic growth. The Arts Council since then

became an independent non-governmental organization (NGO) with greater flexibility and policy position. To some extent, it

has greatly promoted important arts movement like the YBAs— Young British Artists.

In 2001, Alan Davey, the Chief Executive of the Arts Council

England proposed a ten-year arts development plan, which took

出，國家級藝術資助體系的發展與整個英國會發展的不同階段，政府對藝術發展的定義及訴求的不同在很大程度上影響了整個資助體系的變革。在二戰后到上世紀9 0 年代，英國政府管理下的藝術委員會僅僅是作為一個中規中矩的政府官僚部門而存在。從上世紀 9 0 年代中後期開始，隨著工黨上臺，在文化藝術被作為與民眾溝通的手段和促進經濟增長的新領域以後，藝術委員會成立為獨立的非政府公共機構，其靈活性和政策地位都有了顯著的提高，可以說也是客觀上推動了在當時出現的“英國年輕藝術家群體（Young

British

into account the direction which UK industry and the creative

到 2 0 01年，英格蘭藝術委員會執行官艾倫 · 戴

Statistics reveal although funding for arts and culture has

計劃，也是迎合英國創意產業發展和產業升級

decreased due to the global economic crisis since 2008, however, Sergei Polunin and Lauren Cuthbertson i n Al i c e ’ s A dv e n t u r e s i n Wonderland. Photo Johan Persson

over the past 20 years, the UK government has significantly

increased investment into the fields of arts and culture. From the long-term goals of the Arts Council, it is easy to find that

the strategies of cultural development reflect the UK society of today—strong support of cultural diversity (immigration and multi-ethnic coexistence), stimulating the youth’s creativity through arts and culture (educating the young), increasing

more public engagement (development of arts and creative 2 0 12 a n n u a l r e po r t o f Ar t s C o u n c i l England 英格蘭藝術委員會 2 0 12 年度年報

Ar tis t—YBA）”等極具影響力的藝術事件。直

industries were going.

industries), the encouraging of artistic creativity (development of entertainment and cultural industries), and the application

of new technologies and innovation (maintaining the world’s leading position in the creative industries).

維（Alan

Davey）提出的未來10年藝術發展

的發展方向。從各種數據來看，雖然 2 0 0 8 年全球經濟危機使英國對文化藝術方面的資金投入有所減少，但縱觀這20年來的發展情況，英國政府從20 0 0 年以後確實大幅度地加大了對文化藝術領域的投資。從英格蘭藝術委員會的遠期目標中不難看出，英國未來的文化方向都是基於對當今英國社會現狀的反映：大力支持文化多元性（移民和多種族共存）；通過文化藝術激發青年人的創造力（青年人教育）；提高藝術參與性和觀眾數量（發展娛樂和文化產業）；鼓勵藝術創作（保持創意產業生產活力）；新技術和創新的應用（保持創意產業領先地位）。

0.3% Museum and libraries funding 博物館及圖書館

2.8%

28.4%

Grants for the arts and other lottery programmes 藝術基金及其他彩票項目

Creativities, Culture and education 創意，文化及教育

4.8%

Olympic Delivery Fund 奧運專項基金

6.4% Support costs 維護支持資金

5.3%

52%

Regularly funded organisations 定期受資助機構

Development funds 發展資金

Art Fund 英國國家藝術基金會 Text and translated by 撰文及翻譯 Marshall Dusha 馬歇爾·杜廈

The Art Fund (formerly the National Art Collections Fund) is an

independent membership-based British charity, was founded in

1903 in order to help museums and galleries acquire works of art.

“ 藝術基金會（Ar t

Fun d）”是英國一個會員

制的獨立慈善機構，它成立於19 0 3 年，當時的名字是“國家藝術收藏基金（th e

National

Since its foundation in 1903 the Fund has been involved in the

Ar t Co ll e c tions Fun d）”，成立的目的是為

many of the most famous objects in British public collections,

品。自從19 0 3 年成立以來，藝術基金會協助

acquisition of over 860,000 works of art of every kind, including such as Velázquez’s Rokeby Venus in the National Gallery,

Picasso’s Weeping Woman in the Tate collection. It gives grants and acts as a channel for many gifts and bequests, as well as

lobbying on behalf of museums and galleries and their users. The Fund relies on members’ subscriptions and public donations for

funds and does not receive funding from the government or the National Lottery.

In the last five years the Art Fund has spent £24 million on

helping over 700 museums and galleries to buy great art – historic and contemporary.

了幫助博物館和美術館籌集資金來購買藝術了超過 8 6 萬件藝術作品的收購行動，這些形形色色的藝術品中包括了許多著名的英國公共藏品，比如國家畫廊（National Gall er y）裡的委拉斯貴支（ V e l á z q u e z ）的《洛克貝 · 維納斯（Ro keby

Venus）》和泰特美術館

（ Tate）收藏的畢加索（Pi c a s s o）《哭泣的女人（We epin g

Woman）》。現在的藝術基金

會不僅為美術館和博物館提供資金，同時也成為了捐贈作品或遺產的一大渠道，除此之外，它還代表美術館和博物館及其使用者進行相關的遊說行動。該基金會只依靠註冊會員費及社會捐助資金來運作，並不受政府或國家彩票資金的支持。在過去的五年中，藝術基金會已經支出了24 0 0 萬英鎊（約2.4億元人民幣）幫助超過70 0家博

物館和畫廊來購買各類優秀藝術作品，不論是歷史名作還是當代藝術品。

Where the art went 資助藝術分佈 Each dot represents a museum or gallery that has received and Art Funded work or a gift or bequest through the Art Fund. 圖上每一點代表一家曾經接受過藝術基金會資助的博物館或者畫廊。

Art Fund Grants 2011 2011年藝術基金會資金分配 14% - Paintings 油畫 17% - Sculpture 雕塑 23% - Works on paper 繪畫 14% - Applied art 應用藝術 7% - Archaeological 考古學 25% - Art Fund International 國際藝術基金項目

163 | Total number of applications 資助申請總數 141 | Grants given 資助項目數 Grants paid：£4 million towards works of art worth £21 million 款項支出：支出400萬英鎊用於資助購買價值2100萬英鎊的藝術作品。

Data from：Art Fund Annual Report 2011-12/2012-13 數據來源 : 英國國家藝術基金會年度報表2011-12及年度報表2012-13

2012 Art Fund support for acquisitions by medium 2012年英國藝術基金會支持的藝術品購買媒介組成

Fundraising Campaigns

58% - Paintings 油畫 12% - Contemporary 當代作品 12% - Sculpture 雕塑 11% - Applied art 應用藝術 6% - Works on paper 繪畫 1% - Archaeological 考古學

In addition to using its own funds to help museums and

galleries acquire art, the Art Fund organizes national fundraising

campaigns to secure significant works of art that are in danger of being lost from public view.

In 2009 the Art Fund led a fundraising campaign to save the

Staffordshire Hoard, a collection of over 3,500 gold and silver

artefacts discovered in Staffordshire. Over £900,000 was raised £5m

Income 收入

2011

2012

through public donations, and the campaign received substantial funds from trusts and foundations. As a result of the campaign,

the £3.3 million treasure was acquired for Birmingham Museum

£4m

and Art Gallery and the Potteries Museum & Art Gallery.

£3m £2m

Museum of the Year

£1m

The Art Fund sponsors the Museum of the Year award (known as the Gulbenkian Prize from 2003 to 2007 and the Art Fund Prize

1 1

Membership subscriptions 會員註冊費

Donations 社會捐助

Special appeals 特別援助

Legacies 遺產

Investments 投資

Commitments from reserves 委託儲備資金

Volunteer events and trading (net of their costs) 誌願項目和交易(除去開支)

from 2008 to 2012). This is a £100,000 prize awarded annually to

the museum or gallery that had the most imaginative, innovative

or popular project during the previous year. The winner of 2012 is Royal Albert Memorial Museum, Exeter.

籌款拯救藝術作品除了利用自身的資金幫助博物館和美術館收購藝術作品外，藝術基金會為了能讓更多的公眾享受和分享偉大的藝術作品，他們還組織全國性的

£7m

Expenditure支出

2011

2012

£6m

器文物，藝術基金會因此組織了一次為保護這組文物而發起的籌款行

£4m

動。這次行動從民眾中募集了超過90萬英鎊（約900萬人民幣）的資金，

£3m

並且很多非盈利信託和基金會也捐出了大量資金。通過這次的籌款活

£2m

動，這組估價在330萬英鎊（約3300萬人民幣）的文物在基金會的協助下被伯明翰博物館藝術畫廊（Birmingham Museum and Art Gallery）和

£1m

陶器博物館藝術畫廊（Potteries Museum and Art Gallery）所收購。 1

Art Fund core programme 基金會核心項目

Special appeals 特別援助

Membership support 註冊會員維護

危險。 2009年，英國斯塔福德郡（Staf fordshire）發現了一組超過3500件金銀

£5m

籌款活動，用於保護重要藝術品不會面臨流失海外或脫離公眾視野的

Marketing and development 市場推廣和發展

Communications 溝通費用

Governance and grant support 運營管理及補助 Extraordinary £2 million grant for Titian 額外用於購買提香畫作的２百萬英鎊開支

年度博物館獎（Museum of the Year）藝術基金會的另一個知名項目是每年一度的“年度博物館（Museum the

Year）”評選，基金會每年提供10萬鎊的獎金頒發給在過去一年中最

富有想像力、最有創新精神的博物館項目。2012年獲得此獎殊榮的是位於埃克塞特（Exeter）的皇家艾伯特紀念博物館（Royal Albert Memorial Museum）。

Jerwood Foundation 傑伍德基金會 TEXT EDITED AND TRANSLATED BY 編譯 x OLIVIA XIAO 肖蘭 IMAGES COURTESY OF 圖文提供

JERWOOD FOUNDATION 傑伍德基金會

The Jerwood Foundation was established by Alan Grieve for John Jerwood in 1977.

1977年，艾倫·格里夫（Alan Grieve）為約翰·

Grieve’s Chairmanship and inspiration. He has created and established the ethos of

會。1991年，在約翰·傑伍德去世后基金會在艾倫·

Following John Jerwood’s death in 1991, the Foundation has flourished under Alan Jerwood; to support excellence in all areas of human endeavour, principally in the arts and education in its widest sense.

The Jerwood Foundation is dedicated to imaginative and responsible funding

傑伍德（John Jerwood）建立了傑伍德基金格里夫的管理下蓬勃發展。他創立了“傑伍德”精神：“支持人類在各個領域的卓越探索，特別是在最廣泛意義上的對藝術與教育項目的支持。”

and sponsorship of the arts, education and other areas of human endeavour

傑伍德基金會致力於以最據想像力和負責任的

the United Kingdom. It has supported a range of activities across the visual and

術家和年輕的專業人士。它主要支持視覺和表

and excellence, particularly supporting artists and young professionals based in performing arts and education, as well as film, literature, medicine and some international work in Nepal.

態度資助藝術和教育，特別是支持在英國的藝演藝術以及教育項目，包括電影、文學、醫學和一些在尼泊爾的國際項目。

Jer w o o d G a l l e r y Photo: Ioana Mar i n e s c u

Ga r y H u me My Au n t a n d I A g r e e , 19 9 5 / 2 0 1 1 S n o w ma n , 19 9 6 Photo: Mike Fear Photography

Past and Present

歷史和現狀

John Jerwood started his working life in the family jewellery

約翰・傑伍德（ John Jerwood ）的工作生涯始

World War, he moved to Tokyo, where he married and settled to

界大戰，戰後，他移居東京，在那裡他步入了婚

business in Hatton Garden, London. After serving in the Second establish what was to become one of the largest dealerships of

cultured pearls in the world. In his book Jerwood, The Foundation and the Founders, (Unicorn Press 2009) Matthew Sturgis relates

that ‘by the beginning of the 1970s, having built up a considerable fortune, Jerwood was already making donations to various

causes. On 2 March 1977, the Jerwood Foundation was formally established by Alan Grieve for John Jerwood.’

During John Jerwood’s lifetime, the Foundation made

benefactions principally in the fields of education and music. After John Jerwood’s death in 1991, Alan Grieve, who had

been on the Council of the Foundation since 1977, became its Chairman and Director.

於其家族生意的珠寶產業。他參加了第二次世姻的殿堂，定居下來，開創自己的事業，並在以後成為了世界上最大的人工養殖珍珠經銷商之一。在二十世界70年代初，傑伍德積攢了相當的財富，他開始為各種人事捐贈。在1977年的三月二日，艾倫・格里（ Alan Grieve ）福為約翰・傑伍德正式成立了傑伍德基金會。在約翰・傑伍德在世的時候，基金會主要在教育和音樂領域捐贈。艾倫・格里福自1977年就在基金會理事會中任職，在約翰・傑伍德死後，艾倫・格里福成為基金會的主席和董事。在1991年約翰・傑伍德的去世後，在艾倫・格里

Since then, the Foundation has flourished under Alan Grieve’s

福的主席身份和他的啟示靈感之下，基金會蓬

the ethos of Jerwood; to support excellence in all areas of human

會的社會精神特質：支持人類所涉及的各個領

Chairmanship and inspiration. He has created and established endeavour, principally in the arts and education in its widest

sense. Alan Grieve has displayed a vivid sense of the Foundation

from its inception; and has seen the Foundation he first imagined brought into being. He says of the development of Jerwood ‘I

have been asked on number of occasions how the mission and ethos of Jerwood developed. It is a question to which I cannot

give a simple answer. I did what I believed to be right, what I felt was enterprising and would lead to tangible results. But most of all I did what I believe John Jerwood would have approved of.’ Now the Jerwood Foundation is dedicated to imaginative and

responsible funding and sponsorship of the arts, education and

勃發展。正是艾倫・格里福創建了傑伍德基金域，主要支持最廣泛意義上的藝術和教育。也正是由於艾倫・格里福的睿智，基金會自其成立之初而時至今日，這個只能算是半成品的想法，這個一種新型基金會的假想變成了現實。當提及傑伍德基金會的發展時，格里福寫道：“我在各種場合被問過傑伍德基金會的使命和社會精神特質是如何發展而來的。這個問題，我很難用一個簡單答案來回答。我做了我所相信是正確的，我所感覺是銳意進取的，並且會有有形結果的。但最重要的，我做了我相信約翰・傑伍德會贊成的。”

other areas of human endeavour and excellence, particularly

如今，傑伍德基金會致力於以一種富有想像力且

Kingdom. The Jerwood Foundation has truly succeeded in its

之不懈奮鬥的領域，其中他們特別重視對於年輕

supporting artists and young professionals based in the United mission with work that absolutely embodies their ethos.

Jerwood Gallery: the home of

負責任的態度來贊助藝術、教育以及其他人類為的英國藝術家和專業人士的資助和培養。傑伍德基金會一直在為他們的使命而不懈努力，他們的傑出工作也確實體現了基金會的精神氣質。

the Jerwood Collection

傑伍德畫廊：

Since 1993 the Jerwood Foundation has collected 20th and 21st

傑伍德藏品的展示基地

display at Jerwood Gallery, Hastings. Jerwood Gallery is a major

自1993年以來，傑伍德基金會收集二十世紀和

permanent, public home for the Jerwood Foundation’s Collection

斯廷斯的傑伍德畫廊公開展出。傑伍德畫廊是

Century British art. This important collection is now on public initiative of the Jerwood Foundation, established to create a

of Modern British art, alongside a changing curated programme. Jerwood Gallery has been sensitively and intuitively designed, by architects HAT Projects to complement the surrounding

environment of Hastings’ Old Town. The building sits among

二十一世紀的英國藝術。這個重要的收藏在黑傑伍德基金會的一個重大舉措，旨在為傑伍德基金會的關於現代英國藝術的藏品建立一個永久的、對公眾開放的家，同時在這裡也有不斷變化的策展項目同時展出。

the unique Hastings net shops, on the edge of the working

傑伍德畫廊是由HAT設計團隊的建築設計師們

ceramic tiles, hand-glazed a few miles away in Kent, which reflect

區的環境。這座建築坐落在獨特的黑斯廷斯商

fishing beach. The Gallery’s exterior is clad in over 8000 black the changing seaside light. The emphasis on sustainability is

exemplary, with the building creating 60% less CO2 per m² than an average museum of a comparable size.

Jerwood Gallery is synonymous with the Collection of paintings it houses. Since the Foundation’s purchase in 1993 of From

my Window at Ditchling by Sir Frank Brangwyn, Jerwood

精心設計的，以配合黑斯廷斯（Hastings）老城店之中，在釣魚海灘的邊緣。畫廊的外牆由超過8000塊黑色瓷磚覆蓋，這些瓷磚在幾英里遠的肯特手工上釉的，反射了不斷變化的濱海光線。大樓對於可持續性的強調是具有示範意義的，與同等規模的美術館相比，它每平方米所產生的二氧化碳低於平均水平60%。

Foundation’s collection has grown steadily in stature and

每當說到傑伍德畫廊，人們自然會想到它的館

sculptures and works on paper. The collection’s core areas are

爵士（ Sir Frank Brangwyn ）的《從我在迪慶的

importance to include around two hundred British oil paintings, figurative and abstract works from between the First World War

藏。自從1993年，基金會購買了弗蘭克・布朗維窗口（ From my Window at Ditchling ）》，傑

Jo n a t h a n An d e r s o n D a r k S t a r, 20 1 1 Jer w o o d Encounters: TERRA P h o t o : To ma s R y d i n

The Most Incredible Thing, Pet Shop Boys and Javier de Frutos Developed through the Jerwood Studio at Sadlerâ&#x20AC;&#x2122;s Wells Photo: Hugo Glendinning

Jerwood Makers Open 2012, Commissioned artist Silva Weidenbach Photo: Courtesy of the artist

Gary Hume Baby Bird 1, 2008, Courtesy of the artist and Matthew Marks Gallery, New York

Royal Court Jerwood New Playwrights, Playwright: Nick Payne, Constellations Featured: Sally Hawkins and Rafe Spall Photo: Simon Annand

and the 1960s, and contemporary works by artists associated with

伍德基金會的收藏在數量上逐步豐盈，其重要

such as Craigie Aitchison, Maggi Hambling and Prunella Clough.

雕塑還有紙上繪畫。收藏的核心領域是自第一

Jerwood, including several winners of the Jerwood Painting Prize

Jerwood Space: Renowned Rehearsal Facilities for Theatre and Dance Jerwood Space occupies the site of the 1872 Orange Street School, which throughout the following century was used

as various educational institutions. In 1998 it was refurbished

性亦越來越顯著，涵蓋了兩百年里的英國油畫、次世界大戰開始到二十世紀60年代的具象繪畫和抽象作品，以及與傑伍德基金會相關的藝術家的當代藝術作品，其中包括多位傑伍德繪畫藝術大獎的得主，比如克雷吉・艾吉森（Craigie Aitchison）、瑪吉・漢柏伶（Maggi Hambling）以及普魯奈勒・克拉夫（Prunella Clough）。

by the Jerwood Foundation with architects Paxton Locher to

傑伍德空間：

and theatre companies, while the Gallery (once the school’s bike

著名的戲劇和舞蹈排練設施

to bombing in 1940) were restored by architects Munkenbeck

傑伍德空間的選址在187 2 年建立的奧蘭治街

studios and meeting rooms.

接下來的一個世紀改造為不同的教育機構。在

provide excellent and affordable rehearsal facilities for dance

sheds) is now home to Jerwood Visual Arts. The top floors, (lost & Partners in 2007, providing a magnificent suite of rehearsal

Opened in 1998 as the first major capital initiative of the Jerwood Foundation, the Jerwood Space is now established as one of the best rehearsal spaces for

theatre and dance in the UK. Young dance and theatre

companies develop their work at a greatly reduced cost, working alongside established professional companies who pay competitive rates. A beautifully refurbished

Victorian school (Paxton Locher Architects) also offers a contemporary art gallery, café and striking glazed

courtyard (Satellite Architects); these are all open to the public and available for events.

學校（Orange Street School），這所學校在 19 98 年，它由傑伍德基金會翻新，由建築設計師帕克斯頓・洛赫爾（Paxton Locher）設計，為舞蹈和戲劇公司提供了價格合理的的排練場地，而由學校自行車棚改建的畫廊，現在已經是傑伍德視覺藝術的基地。在19 4 0 年被炸毀的頂層，由芒肯拜克與伙伴（Munkenbeck

Par tners）的建築設計師們在20 07年復原，變成一個宏偉的排練工作室和會議場所。這個項目仍是全部由傑伍德基金會資助的。傑伍德空間在19 9 8 年開放，作為傑伍德基金會的第一個資本舉措，現如今已經成為英國戲

Jerwood Charitable Foundation: Support for Artists and Art Organisations In 1999 it was decided that Jerwood should separate its work as a funder of large capital projects and its role as a grant

maker. Because of trust law , Jerwood Foundation is based in

Liechtenstein, but, as Sturgis noted, ‘for various reasons it was

neither possible nor desirable to move the Jerwood Foundation

in its entirety from Liechtenstein to the UK. An alternative course,

however, it was decided to create a separate sub-body, registered in the UK. So, in 1999 the Jerwood Charitable Foundation was

born, obtaining charitable status on 1 April that year. Initially the Charity was supported by an annual grant of some £1.4 million per year from the Foundation.’

The principal role envisaged for the new entity was to run and develop the various revenue grants, awards and scholarships

established under the Jerwood name. The capital grants would remain the preserve of the original Jerwood Foundation.

The aim of the Jerwood Charitable Foundation is for the funding they give to allow artists and arts organisations to thrive, and to continue to develop their skills, imagination and creativity with integrity. They initiate projects with outstanding organisations

and individuals across the UK. Many professional artists accross a

劇舞蹈排練的最好場地之一。年輕的舞蹈戲劇公司可以在這裡以完善他們的作品，卻只需支付極大減少了的費用，並且和其他已有的專業公司一起工作。一所經過精美重裝的維多利亞學校（由帕克斯頓・洛赫爾建築設計）也提供了一所當代藝術畫廊、咖啡廳和引人注目的庭院（由衛星建築 Satellite Architects設計），這些全部對公眾開放並且可以舉辦各種活動。

傑伍德慈善基金：支持於藝術家與藝術團體眾所週知，因為信託法而非稅務的原因，傑伍德基金會是在列支敦士登註冊成立的，而且由於多種原因，將基金會整個由列支敦士登移至英國是不可能也是沒有必要的。然而，另一種做法，就是在英國創建並註冊一個單獨的子體。所以，在1999年，傑伍德慈善基金會建立了，並於同年的四月一日獲得了慈善團體的身份。最初傑伍德慈善基金會每年接受傑伍德基金會約140萬英鎊的撥款支持。為新實體設想的其主要角色是在傑伍德這個名下運行和發展各種的財政收入補助、獎勵和獎學金。而建設補助金仍是原有的傑伍德基金會來掌管。傑伍德慈善基金會的目標是利用他們的資助，可以使藝術家和藝術機構茁壯成長，使他們的技能延續並發展，使他們的想法和創造力得到完整。

Roun dh ouse: Circus As s o ci ate A r ti s ts Sch eme Collectif an d T h e n … L o s t Po s t, Featured: Fran cesca Hyde an d L u ci e N ’Duh irah e, Ph oto: Ph il Fi s k

variety of art forms work with them, and they offer project and

他們與英國眾多出色的組織和個人發起了多個

support prioritises the development of talented and

藝術領域的專業藝術家與他們合作。傑伍德慈

programmed funding. The Jerwood Charitable Foundation’s dedicated individuals at transitional stages of their careers, and is delivered primarily through partnerships with outstanding arts organisations throughout the UK.

項目。通過他們提供的項目和計劃資金，多種善基金會優先支持才華橫溢和具有奉獻精神的人，在他們的職業生涯的過渡階段，並與全英國的優秀的藝術團體建立合作伙伴關係。

Capital Projects

資本項目

The Jerwood Foundation has made a large number of high

傑伍德基金會在其關注的藝術和教育領域

in the arts and education. Major grants include those for

要的資助項目包括在皇家法院的傑伍德劇院

profile strategic capital grants reflecting its range of interests the Jerwood Theatres at the Royal Court, the Jerwood

Vanbrugh Theatre and Jerwood Vanbrugh Rehearsal Space at the Royal Academy of Dramatic Art, the Jerwood Centre for the Prevention and Treatment of Dance Injuries at

Birmingham Royal Ballet and the Jerwood Rehearsal Stage at Glyndebourne Opera.

做出了大量的高姿態高策略的資本撥款。主（Jerwood Vanbrugh Theatre），在皇家戲劇藝術學院的傑伍德范布勒劇院和傑伍德范布勒排練空間（Jerwood Vanbrugh Theatre），為伯明翰皇家芭蕾舞團所建的傑伍德舞蹈傷害預防和治療中心，以及在格林德伯恩歌劇院的傑伍德排練場地。

Rose Wylie Silent Light (film notes), 2008 Courtesy of the artist and UNION Gallery, London, Photo: Public Catalogue Foundation

Jer w o o d G a l l e r y P h o t o : I o a n a M a r i nesc u

Wellcome Trust 威康信託基金會 Text by 撰文 x Michelle Yu 余小悅

Translated by 翻譯 x Chang Yu 于暢 Michelle Yu 余小悅 images by courtesy of 圖片提供

Wellcome Trust 威康信託基金會

Wellcome Trust is a global charitable foundation dedicated to achieving

extraordinary improvements in human and animal health, it supports the brightest

minds in biomedical research and the medical humanities. Their breadth of support includes public engagement, education and the application of research to improve health. It is an independent of both political and commercial interests. Today, ART.

ZIP invites the senior art adviser of Wellcome Trust, Meroë Candy, to tell us about the operation of the foundation. ----------

威康信託基金會是英國一家全球性的慈善基金會，致力於極力地改善人類和動物健康狀況，基金會支持生物醫學研究和醫療人文項目，廣泛的支持包括公眾參與項目，教育和應用研究用以改善人類的健康狀況。它是一個獨立于政治和商業行為之外的組織。今天我們請來了基金會高級藝術顧問麥羅埃•坎迪（Meroë Candy）女士來為我們介紹基金會的運作。

A: Could you tell me a bit about yourself?

A：你能簡單介紹一下自己嗎？

C: I joined the Wellcome Trust seven years ago to run a grants

C：七年前我加入威康信託基金會，負責一個資

together. This was a predecessor to our current program, the Arts

個資助計劃就是現在《藝術獎（Arts Awards）

program called Sciart which funded artists and scientists working

助藝術家和科學家的合作項目，叫《Sciart》。這

Awards which we launched in 2007 which funds arts that explore

》的前身，所以 20 07年以後我們主要通過《藝

A: So before 2007, there was no arts particular funding program?

A：所以在20 07年之前沒有一個特別為藝術設

biomedical science.

C: Before 2007 we ran a number of funding schemes that

術獎》這個藝術資助項目來發展生物醫學。

立的資助項目？

funded the arts which we’ve now combined into one program.

C：20 07年之前我們有一些零散的藝術資助計

The main focus of the Wellcome Trust is to support research

獎》在過去五年有了很大的發展。威康信託基

The Arts Awards have grown significantly over the last five years. into medical science and medical humanities. Alongside that, we support activities which engage the public with science,

to encourage a culture and society that values scientific and

medical research. The Arts Awards are part of that strategy. Also, we run the Wellcome Collection, a venue which enables people to explore the connections between medicine, life and art.

劃，現在我們全部統一到一個項目當中。《藝術金重點支持醫學及人文醫學的研究，除此之外，我們支持相關的醫學普及活動，希望大家都能意識到科學醫學研究的重要性，而《藝術獎》就是讓大眾參與的策略之一。同時，我們還成立了“威康收藏館（Wellcome Collection）”，一個讓大家探索醫藥、生命和藝術關係的地方。

A: So the Wellcome Collection is just only part of the artistic engagement?

C: Yes, besides the Wellcome Collection, we run programmes across the UK and internationally which involve the arts. For

example, our recent program ‘Wonder’ is collaboration between Wellcome Trust and the Barbican Center. The program is about the art and science of brain, and is a series of activities and

events about the brain. It is an example of a public engagement program that gets artists and scientists to explore the same subject area.

A: Wellcome Trust is mainly about biomedical science, what are

the artistic practices then?

C: We support projects where the artistic work is related to medicine and biomedical research, either by giving grants

directly to artists or arts organizations who commission artists to make work. We support all art forms whether it is performance, theatre, film, visual arts or music, but the subject area has to

engage people with the wider societal and cultural issues around biomedical science.

A: So the aim of these artistic practices is to promote biomedical science?

C: I wouldn’t call it promoting. It’s about encouraging debate and dialogue about science. It’s about getting people to talk

about, discuss, and think about ideas around science and how it

affects our lives. Artists are particularly good at this as the nature of artistic practice is about ambiguity rather than explanation.

It’s not about communicating the science, it is about exploring

its impact on us, what it means for us as individuals, and for us as society.

The other aim of the program is to support collaborations

between artists and scientists. We are interested in what the fields of arts and science can bring to each other, how their different languages and ways of looking can influence each other, and

how these collaborations might bring new knowledge to both fields.

A: Would you refer one or two specific programs that are very

well examples of combining these two together?

C: I hate singling out projects because there are so many

good ones. But there’s a particularly interesting project that’s happening at the moment, that comes out of a long-term

Sh on a Illin gw orth . Balnakie l.

A：所以“威康收藏館”只是藝術實踐的一部分？

C：如果藝術家作品涉及醫藥及醫學研究，我們

如何影響我們的生活。藝術家非常擅長讓公眾

C：是的，除了威康收藏館，我們在全英國甚至

的資助計劃會直接資助藝術家或者藝術機構來

參與某事件，因為藝術實踐的本質就是這樣一

進行藝術委託項目。我們支持各種藝術類型，

種開放的結果而不是強加解釋什麼。不是為了

全球都有藝術實踐項目。譬如最近和巴比肯藝

表演藝術、戲劇、電影、視覺藝術和音樂等等，

學習科學，而是探討科學對我們個體及社會發

術中心（Barbican）合作的《Wonder（奇蹟）》

但主題必須圍繞讓公眾參與到醫學範圍內的社

生的影響。

項目，通過一系列的活動從藝術和科學的角度

會及文化討論。

來探討人腦。這是公眾參與項目中結合藝術家和科學家來探討同一個話題的最好範本。

A：所以這些藝術實踐是宣傳醫學的一種手段？

A：威康基金會主要是支持醫學研究的，那麼藝

C：我不會稱之為宣傳手段。我們只是鼓勵更多

術實踐部分能給我們再多講一些嗎？

科學對話與討論，讓公眾參與討論，思考科學

資助項目的另一個目的是鼓勵藝術家與科學家的合作。我們認為藝術與科學的合作非常有趣，它們兩種不同的語言和看待事物的方式可以互相影響對方，而這兩者的合作也有可能為對方開闢新的知識領域。

collaboration between an artist and scientist. Artist film-maker Shona Illingworth has a personal and long-term interest in

memory as a collective experience, but also memory in relation

to locations and space. Shona works with a psychologist, Martin Conway, whose research is in autobiographical memory. They worked in the past on a project called ‘Balnakiel’ which is a

place in the highlands of Scotland where Shona was brought

up. She made a film about her experiences of living in this very particular-location which is also used as a military training site. The community lived with everyday experiences of bombs

being dropped and planes going overhead, so the collective experiences of the community had a deep impact on Shona

as a person. She worked with Martin to explore how we store

and retain memories, using the act of drawing as a technique

for documenting how memories are made and retrieved. They are now working on their new project with a woman who had

lost her memory. She has no autobiographical memory, but she

also can’t keep new memories. They’ve been working closely

with her to explore her experiences, not only to give her a better understanding of her own condition, but also to help Shona and Martin gain a better understanding of how her brain works and

the personal experience of this condition. This is a long-term

collaboration which has resulted in not only new artistic work but they’ve been able to explore new scientific enquiries as well.

A：你能具體說說一兩個這樣的藝術與科學合作的項目嗎？ C：我不太喜歡單獨挑選某個項目來說明，因為實在有太多好項目了。但

現在有一個正在進行的項目我認為特別有趣，是藝術家和科學家長期合作的項目。這個藝術家是電影製作人，叫做紹娜 • 伊林沃思（S h o n a Illingwor th），她對記憶作為集體經驗的話題有著長期的興趣，記憶還與地方、空間相關。紹娜與一位名叫馬丁•康威（Martin Conway）的心理學家合作，馬丁的研究方向也是關於自傳式記憶的。他們過去有個項目叫做《百納奇爾（Balnakiel）》，Balnakiel是紹娜成長的地方，在蘇格蘭高地上。她製作了一部關於她這片土地的影片，Balnakiel不但是她成長的地方，還是軍事訓練用地。社區群體每天都有著扔炸彈、飛機盤旋的經歷，所以這些集體經驗也深深影響著紹娜個人。她與馬丁合作一起探討記憶是怎麼保存和維持的，像製圖一樣記錄記憶是怎麼產生和重拾的。他們現在的新項目與一位失去記憶的女士合作。這位女士沒有自傳式的記憶，但是她也不能保存新記憶。紹娜與馬丁的合作在於探討這位女士的體驗，不僅讓她更清楚自身的情況，同時也讓紹娜和馬丁了解到這位女士的腦是如何運轉的，還有這種情況的個人體驗到底是怎樣的。這是一個長期合作的案例，不但激發了新的藝術創作，與此同時也探索了新的科學研究。

Dryden G oodw in . Br e athe

A: Any other interesting projects you would recommend?

A：還有別的有趣項目嗎？

C: Yes. We funded Luke Fowler, who was shortlisted for the Turner

C：我們資助過盧克•福勒（Luke Fowler），他拍

development of the work, and we also funded the archives he

片為他贏得去年特納獎的提名人機會。我們支

Prize last year for his film about R.D. Laing. We supported an early worked with in the film, which houses past footage of Laing and

his work. It’s a very interesting film which explores the history and contemporary relevance of a particular figure within psychiatry. In terms of performance, we funded the Opera Group, a

的關於精神病學家R .D.萊恩（R .D.Liang）的影

持了該項目的初期發展計劃，我們還資助了他拍這個影片的歸檔資料，包括萊恩及其工作的一些注腳資料。這部影片探討了在精神病學方面一個特殊人物的歷史及現狀。

contemporary opera company, which is interested in pushing

至於表演藝術，我們資助了“ 歌劇團（O p e r a

Face’, which was a contemporary opera about the experience

歌劇公司。我們資助了《獅子的臉（The Lion’s

the boundaries of opera. We funded a project called ‘The Lion’s

Group）”，一個致力於發展歌劇新領域的當代

of dementia. They worked with scientists at the Institute of

Face）》這出關於癡呆症的當代歌劇。他們與精

research process.

患者的研究。

Psychiatry, and involved patients with dementia involved in the

神病學院的科學家合作，並參與了真實癡呆症

A: As we mentioned before, the Arts Awards, is it for international

A：我們之前提到的《藝術獎》是開放給世界各

C: International artists can apply but our focus is on

C：各地的藝術家都可以申請，但這是主要為了

do show overseas as well, but our primary focus is about

項目都有在全球各地展出，但我們主要還是集

applicants?

audience engagement here in the UK. Many of our projects UK showings.

地的申請人嗎？

英國公眾參與計劃而設立的獎項。我們有很多中在英國本土的展示。

T h e O p e r a G r o u p. Th e L i o n ’s Fa c e

Tabulae sceleti et musculorum corporis humani, 1749. Credit: © The Richard Harris Collection.

Shri-Chitipati dace macabre, 18th Century. Credit: © The Richard Harris Collection

Linda Connor ‘Skeleton, Shrine, Kathmandu, Nepal’, 1980. Credit: Photo by Linda Connor.

A: Where does your fund come from?

A：請問你們的資金是從何而來的呢？

C: We have an endowment. The Wellcome Trust was set up in

C：193 6 年亨利 • 威康去世後就成立了威康信

we spend is generated through that endowment which is worth

花的每一筆款項都來自這個捐贈資金，大概有

1936 following the death of Henry Wellcome. All the money that £14.5 billion. Each year we have an annual spend in total of about £650 million which is spent on all our research and engagement activities. In terms of the Arts Awards, we spend £1.4 million.

託基金，從此我們有了這個捐贈基金。我們所

145億英鎊。每一年我們會花 6 億 5千萬鎊用於研究和公眾參與項目。至於《藝術獎》我們會花140萬鎊吧。

A: Does UK’s bad economy affect funding programs?

A：英國經濟的下滑對你們的資助項目有影響嗎？

C: Our portfolio is so broad in terms of where we invest across the world,

C：我們投資項目在全球各地都有，所以我們沒

strategic way which means that we have not had to reduce the amount

臨削減藝術資助資金的風險。

so we haven’t been affected significantly. We manage our fund in a

we are spending on the arts despite the economic climate in this country. A: That’s very exciting work. You don’t have any pressure then.

有受很大影響。有效的投資策略使我們免於面

A：那聽起來十分令人振奮啊，你們都沒有金錢上的壓力。

C: We have to make sure we fund the best artistic work. It is very

C：我們需要確保資助最好的藝術項目。這確實

interesting work. We may be speaking to people who hadn’t

項目。我們也可能會和一些之前沒接觸過醫學

exciting as it’s an opportunity for us to be able to fund some really previously considered exploring subjects around biomedical science.

是令人振奮的，我們都能資助一些異常有趣的範疇的藝術家合作。

Me t a mo r p h i c Po s t c a r d , c .19 0 0 . Credit: Richard Har r i s C o l l e c t i o n / W e l l c o me I m a ge s

Frantisek Drtikol, Un t i t l e d ( N u d e wi t h s k u l l ) . C r e d i t : The Richard Harris Collection

Me t a mo r p h i c Po s t c a r d , c .19 0 0 . Credit: Richard Har r i s C o l l e c t i o n / W e l l c o me I m a ge s

A: Are there any laws or acts that regulate your operation?

A：你們的運營需要受什麼法律和規章監控嗎？

C: Yes, we fund works for charitable purposes and therefore we

C：這是必然的。我們必須以慈善目的來進行資

are regulated by the Charities Commission in the UK. A: You can’t sell any works, can you?

C: Well, you can sell work that has been funded by us if it means it will

B ar t h e l B r u y n t h e e l de r, ‘A S k u l l i n a Niche. Credit: The Richard Harris Collection

Wellcome Collection, Medicine Man gallery. Credit: Rama Knight, 2007.

助計劃，所以我們是受英國慈善機構委員會所監控的。 A：你們不可以出售作品，對嗎？

ensure a higher profile for the work. We are not funding artistic work for

C：我們可以出售我們資助的作品以此來提高

agreements which recoup our investment to ensure we can spend that

藝術項目，我們必須遵守相關協議來達到慈善

commercial purposes and therefore we have to ensure that we have investment in other ways, in order to meet our charitable aims.

作品的熟知度。我們不能資助以商業為目的的目的。

A: What’s the advantage of such a private trust?

A：這樣的私人信託基金會有什麼好處呢？

C: We do not have to meet particular political or governmental

C：我們不需要滿足特定的政治或政府目標，所

move quickly, and to be able to be more reactive, I guess. We can also

決定，可以更靈活。我們可以更有策略地專注

objectives, so we have freedom to be able to take risks, to be able to be more strategic and focused about what we are trying to achieve,

and therefore we can fund areas that we see a gap in terms of activity.

以我們有很大的自由度，可以冒險，可以快速做

在我們的既定目標範圍內，因此我們可以資助一些被遺漏的好項目。

A: Could you share with us how you fund the artistic practices?

A：你能談談你們是怎麼資助藝術實踐的嗎？

C: Wellcome Collection is something we run ourselves where we

C：威康收藏館是我們內部的藝術資助項目，

funding which is a reactive funding program where people can

助項目讓大家申請，作品可以在威康收藏館之

commission artists to make and show work for us. We have grant apply to make and show work outside of the Wellcome Trust. And

then we have activities we deliver nationally such as the ‘Wonder’ Thomas Heatherwick Studio was commissioned to create this major sculpture for the Gibbs Building. Photographed by Harry Liu.

season where we might commission artists to make work for us.

外進行全英展示，譬如和巴比肯合作的《奇蹟（Wonder）》項目，我們就會委託藝術家給我們進行藝術創作。

A: What about the Image Awards?

A：那麼圖像獎呢？

C: Wellcome Image Awards is a part of the Wellcome Library. We

C：威康圖像獎是威康圖書館的一部分。我們信

Book Prize, which is for medicine and literature; we have the

嘉獎醫學文學；威康編劇獎，鼓勵專題科學電

have a number of prizes run by the Trust. We have Wellcome

Adrian Van Utrecht ‘Vanitas Still Life with…’ Credit: The Rechard Harris Collection.

我們會直接進行藝術委託項目。我們也有資

Screenwriting Prize, for science in feature film, we have Science

Writing Prize for popular science writing, and we have the Image Awards, so again it’s part of a bigger strategy for developing good ideas and practices within the cultural sector.

託基金會有很多獎項，譬如威康書籍獎，專門影；威康科學寫作獎，表彰受歡迎的科學題材寫作，所以圖像獎也像其他獎項一樣，是我們在文化領域鼓勵好的想法和推動優秀實踐的策略。

Frieze Foundation Frieze 基金會 Text and translated 撰文及翻譯 x Mo Ming 莫名 images courtesy of 圖片提供

Frieze Foundatio Frieze基金會

Frieze Foundation is a non-profit organisation, which was established the same year as

the Frieze Art Fair (2003). The foundation oversees: Frieze Talks, a programme of panel

discussions and lectures printed annually during the four days of the fair; Frieze Projects, a curated programme of site-specific projects by artists in and around the fair. In 2011

the Foundation introduced the Emdash Award which will be annually presented to an

international emerging artist. To close look at the Frieze Foundation, ART.ZIP interviewed the new curator of the Foundation Nicola Lees1. ----------

Frieze基金會是一個成立於2003年的非盈利組織，他組織的活動包括：Frieze論壇，包括每年 Frieze藝博會期間舉辦的小組討論和講座等活動；Frieze項目，一個策展項目，包括博覽會內外的藝術家定製展覽項目；去年，基金會新推出了艾姆達施獎（Emdash Award），每年評選出一位傑出的國際藝術家。為了大家近距離了解Frieze基金會，我們採訪了基金會的新任策展人尼古拉·里斯（Nicola Lees）1。

1. Nicola Lees is the new Curator of Frieze Foundation, responsible for the unique programme of artist commissions, which takes place annually at Frieze London. Lees will also take up a position on the judging panel of the Emdash Award 2013 For the past five years Nicola Lees has worked as Senior Curator of Public Programmes T h o m a s B a y r l e ‘ B l oping L oafers/ Sm oot h’ ( 2 0 1 2 ). C o m mi s s i o ned and produc ed by Fr i e z e F o u n d a t i o n for F rieze P roj ec t s 2 0 1 2

at the Serpentine Gallery, London. 1. 尼古拉 · 里斯是 F r iez e基金會新的策展人，負責基金會每年在 Fr iez e倫敦藝博會期間的獨特的藝術家委託項目。同時里斯也是201 3 年度艾姆達施獎的評委。過去五年尼古拉 · 里斯在倫敦蛇形美術館任職公共項目策展人。

A: Would you do a brief introduction about the relationship

A: 請您給中國的讀者簡略介紹一下《 frieze》

between the frieze magazine, Frieze Art Fair and the Frieze

雜誌，Fr ie ze藝術博覽會以及Fr ie ze 基金會之

aim of the foundation?

營方式又是怎樣的呢？

Foundation? How is the foundation established and what’s the

N: Frieze Foundation is a non-profit organisation that

間的關係，關於Fr ie ze 基金會的設立目的和運

N：Frieze基金會是一個非盈利組織，它的運作

operates wholly independently from Frieze Art Fair

是完全獨立於Frieze藝術博覽會和《 frieze 》

the same time as Frieze Art Fair and is responsible for

於20 03年，基金會主要負責策劃Frieze藝博會

artist commissions, talks, films, music and education.

動，這個策展項目是旨在向人們展示更多的成

and frieze magazine. It was established in 2003, at

the curated programme at Frieze Art Fair, comprising

The curatorial programme aims to showcase a range of established and emerging artists.

Art Fair, magazine and Foundation are all linked through

the discourse of contemporary art. As you are aware

the Foundation’s activities are presented at the London

Fair and are site-specific commissions. These include an

interdisciplinary talks programme for 2013, which is curated

雜誌的。基金會與Frieze藝術博覽會都是成立的藝術家委託項目、講座、電影音樂和教育活熟的及新興的藝術家。 Fr ie ze藝博會、雜誌和基金會都是關注當代藝術，并通過當代藝術語境而相互關聯的。大家可以看到，基金會在倫敦藝博會上的項目以及展示一些特定的藝術委託，其中包括雜誌編輯詹妮弗·海吉（ Jennifer Higgie ），克里斯蒂·蘭格（ Christie Lange ）和約爾格·海澤（ Joerg

Sarnath Banerjee,Gallery o f l o s e r s (n o n p er f o r me r s , a l mo s t wi n n e r s , u n d e r achievers, almost m ad e -i t s ) .

by the editors of the magazine, Jennifer Higgie, and Joerg Heiser with Christie Lange.

A: How is the Foundation funded? N: The Foundation has received funding from a number of

sources including grant bodies such as the European Union’s

Culture 2000 programme and Arts Council England. Specific areas also receive sponsorship, for example Cartier sponsored Frieze Projects from 2005–2010 and the EMDASH Foundation have been our supporters since 2011.

The funding for Frieze Foundation comes from a variety of

Heiser）為2013年藝博會策劃的跨界論壇項目。 A：請問基金會是如何籌集資金的呢？ N: 基金會的資金來源包括一些資助機構比如歐盟文化2000（European Union’s Culture 2000 ）項目和英格蘭藝術委員會（Arts

收到很多企業的贊助，比如 20 05 到2010 年卡地亞贊助的Frieze展覽項目以及艾姆達施基金（EMDASH

Foundation）會從2011年開始的

對基金會的支持。

sources including:

Frieze基金會的資金來源包括：

Foundations

基金會支持

Private individuals Corporate sponsors

Arts Council England

No funding comes from Frieze Art Fair.

Council

England）。除此之外，很多其他方面基金會也

私人贈與合作者贊助英格蘭藝術委員會基金會不受Frieze藝博會的資助。

A: How do you achieve the aim of the Foundation? Could you

A :在未來你將怎樣幫助基金會實現它的目標

accessible to the audience?

將怎樣使籌劃的項目讓更多的觀眾參與進來？

highlight some key projects? How do you make the projects

呢？比如有哪些項目是值得關注的？另外基金會

N: As I have just arrived in this new post, I am intending to build

N：我剛剛接任基金會的工作，我打算在未來18

the focus of the foundation in a new direction and look at making

金會進入一個新的階段，我們也將更注重於讓

a new programme over the next 18 months. This will slightly shift the projects accessible to multiple audiences.

個月的時間里策劃一個新的項目，這將帶領基更多的觀眾參與到我們項目中來。

A: Could you tell us something about the Emdash Award?

A：可不可以為我們介紹一下艾姆達施獎？

N: The Emdash Award returns to Frieze London for the third

N:艾姆達施獎是Fr i e ze項目的一部份，今年已

The award is open to artists living outside of the UK, up to five years

以外，35歲以下且在獲得學士或碩士學位5年以

consecutive year in 2013 as part of the Frieze Projects programme.

from graduating from an undergraduate or postgraduate degree or under 35 years of age. The winner will be announced in June.

經是第三年了。這個獎項是為那些生活在英國內的藝術家設立的一個藝術獎項，每年6月宣佈獲獎者。

Produced by Frieze Foundation, The Emdash Award is supported by the

艾姆達施獎是由Frie ze基金會策劃，由艾姆達

recipient of the award will have the unique opportunity to present their

畫廊共同呈現。獲獎作品將會在Frieze 2013倫

Emdash Foundation and presented in collaboration with Gasworks. The work at Frieze London 2013 to a significant international audience.

施基金會贊助并與倫敦蓋斯沃克（Gasworks）敦藝博會上與來自世界各地的觀眾見面。

The Cartier Award 2010, Simon Fujiwara, Frozen, 2010. Commissioned and produced by Frieze Foundation for Frieze Projects 2010. Frieze Art Fair 2010. Photo by Linda Nylind.

Spartacus Chetwynd, A Tax Haven Run by Women (A Luna Park Game Show). Commissioned and produced by Frieze Foundation for Frieze Projects 2010. Frieze Art fair 2010. Photo by Polly Braden.

B ab y D e e a n d Th e E l y s i a n Qu a r t e t . Fr i e z e Ar t F a i r 2010. Photo by Polly Braden

A: Are there any new directions or new programs in the future

A：可不可以給我們透露一些未來的新項目或者

N: I am interested in building on my long-standing interest in

N:我個人比較感興趣的是基於時間和表演藝術

during Frieze, London sees a very intense amount of activity

敦將有大量的活動，雖然只是有限的每年5天的

that you could reveal to us in advance?

time-based and performative programming. As we all know,

that only last for 5 days a year. Yet for artist commissions this

temporality can enable a different type of work to be produced and the energy remains consistently high.

是基金會新的發展方向？

的項目。我們都知道，在Frieze藝博會期間，倫時間，可是對藝術家來說，這種短期的藝術委託可以促使他們創作一些特別的作品，而且還可以保持他們高昂的創作激情。

I am very committed to an integrated approach to artistic

我非常願意實踐一種綜合性的藝術表達方式，

yielded extremely fascinating results. In this sense, I intend to

得了非常卓越的成果。因此，我打算將Frieze項

expression – this is a focus that has driven my practice and

bring Frieze Projects in dialogue with other forms including

practices normally found under the umbrella-term of ‘education’.

Emdash Award recipient Cécile B. Evans’ project for the Frieze Art Fair 2012— This Is Your Audio Guide. Photo by Polly Braden.

這是我工作時間的重點和驅動力，而且已經取目與其他形式的實踐相結合，包括以 ‘教育’ 名義下的實踐。作為這種方法的一部份，我會鼓

Grizedale Arts & Yangjiang Group, Colosseum of the Consumed’ (2012)-Yangjiang Group, ‘Dining and Calligraphy’. Commissioned and produced by Frieze Foundation for Frieze Projects 2012. Frieze London 2012. Photograph by Polly Braden. Courtesy of Polly Braden/Frieze.

As part of this approach, I will encourage artists to experiment

勵藝術家通過藝術委託的形式來參與實驗新的

commissioning process. One cohesive commissioning strand

的藝術委託項目也是一次藝術實驗，目的是發

with new and un-explored aspects of their practice through the will issue out of such an experiment, with an aim to developing

collaborative projects on a local, national and international scale.

和未知的創作方法和觀念實踐。一個有凝聚力展本地的或者全國的更或者是全球的藝術家合作項目。

I am delighted to be joined by Kate Coyne as Producer of the

我非常榮幸能夠被凯特•柯尼（Kate

2012 in all his projects leading on large performances at the

至 2 012 年，凱特和迈克尔 •克拉克（ M i c h a e l

Frieze Foundation. Kate danced with Michael Clark from 1997Tate and Whitney. She also won the Critic’s Circle Award for

best female dancer- Modern in 2010. I am really excited about

how we will be able to work together to shape something in a new direction.

Z h a n g H u a n , O u r Parent s, 2 0 0 8 . F rieze A rt F a i r 2 0 1 2 . P h o t o b y H arry L iu.

Coyne）

推薦成為 F r i e z e 基金會的製作人。從19 9 7年 Clark）合作了很多在泰特和惠特尼美術館的大型表現項目。她在2010年贏得了影評人協會頒發的年度最佳女舞者獎。我真的非常高興能夠和她一起工作，並且一同開創基金會的新方向。

Strolling with the Zeitgeist: Five Decades. Frieze Talks 2012. Frieze London. Photograph by Polly Braden. Courtesy of Polly Braden/Frieze.

David Roberts ART Foundation 大衛·羅伯茨藝術基金會 Text by 撰文 x Michelle Yu 余小悅

Translated by 翻譯 x Syndi Huang 黃煥欣 images courtesy of 圖片提供

David Roberts Art Foundation 大衛·羅伯茨藝術基金會

David Roberts is a commercial property developer and is considered as one of the UK’s most important art Installation View. House of Leaves Movement 1. Matthew Day Jackson, August 6, 1945, 2012; Phyllida Barlow, Untitled: disaster 5, 2010; John Latham, Gone Fishing, 1959.

collectors. In 2008, Roberts launched the first part of the David Roberts Arts Foundation to benefit young

curators and artists, at 111 Great Titchfield Street in London. He had realized during the construction period that the space would be too small, therefore he acquired a warehouse in Camden, which transformed into a gallery space and head quarters for his philanthropic Foundation. ART.ZIP invites the director Vincent Honoré to give us the idea of the DRAF.

----------

大衛·羅伯茨是一位商業地產開發商，同時也被認為是英國最為重要的藝術收藏家。在2008年，他在倫敦市中心的大蒂奇菲爾德大街建立了大衛·羅伯茨藝術基金會（DRAF），基金會旨在幫助年輕的策展人和藝術家。後來，在基金會場地建設施工期間，他意識到基金會的畫廊空間太小，因此他將倫敦卡姆登區的一座倉庫改造為新的基金會總部和畫廊。今天我們有幸採訪到了基金會的總監文森特·托納（Vincent Honoré）。

A: Could you give us a brief introduction of DRAF?

A: 你能夠簡要介紹一下DRAF嗎？

V: DRAF is a private foundation: a public space with a public

V：DRAF 是一個私人基金會：一個由私人資

promoting contemporary art, and we achieve these aims through

目標是教育和推廣當代藝術，主要通過收藏、

mission, but privately funded. Our core aims are education and

3 main activities: collection, production and research. DRAF is a research structure, a resource where curators, critics, scholars, and the audience, all together we try to understand what is contemporary art and what is contemporary culture.

A: How would you distinguish DRAF from other foundations? V: One of the main features of DRAF is that it promotes curators and

助，但具有公共使命的公共空間。我們的核心

創作和研究這三種方式來實現。DRAF的結構是以研究為基礎的，一個讓策展人、評論家、學者和觀眾能夠共同學習當代藝術和當代文化的場所。 A：DRAF與其他藝術組織有哪些不同之處？ V：最主要的區別在於DRAF會推廣策展人及其

reflects on curators’ methods. Another important feature is how

策展方式。另一個重要的特點是我們會策劃各

even the exhibitions themselves which sometimes keep changing.

從而使基金會變得有聲有色。我們邀請觀者也

we enliven the foundation with various performances, talks and

We invite the audience to be the co-producers of the exhibitions. As a matter of fact, we don’t speak to a mass, we speak to visitors, we speak to informed individuals, and we speak to actors of the foundation: this is I guess something our visitors enjoy a lot.

式各樣的表演和講座，甚至展覽也時常變換，成為展覽製作人的一部分。事實上，我們面對的不是大眾，而是前來參觀的人，圈內人士，以及基金會的行動者。我認為這是我們的觀眾感到樂在其中的原因。

Installation View. House of Leaves Movement 1. Lawrence Weiner, ONE PINT GLOSS WHITE LAQUER POURED DIRECTLY UPON THE FLOOR AND ALLOWED TO DRY, 1968; Shannon Ebner, Sculptures Involuntaires, 2006; Phyllida Barlow, RIG: untitled: coils, 2011.

B r u ce McL e an , Po s e Wo r k f o r Pl i n th s , 1971. 15 p h o to g r ap h s m o u n te d o n car d. D av i d R o b e r ts C o l l e cti o n , L o n do n

I n s t a l l a t i o n V i e w. House of L eaves M ovem ent 2 . F rom left to righ t: To n y C r a g g , Th e F anat ic s, 2 0 0 6 ; Nik olas Gom baroff, Un titled, 2011; Gar y W e bb, Ta r r a gon Sold ier, 2 0 0 8 ; Varda Caivano, Un titled, 2007; A n s e l m R e y l e , U n t it led, 2 0 0 6 . Im ag e Court esy : M ark Blow er

A: Would you like to refer any specific programmes that deliver the notion of the space?

V: I would hope that the whole project all together gives an

idea of our ethics. But should I name one programme, I would

possibly choose the Curators’ Series, a series of exhibitions that we commission international curators. So far we have had six

international curators: we started with Cylena Simonds, a North

American curator, then we invited Raimundas Malasauskas, a

Lithuanian curator, who recently worked as one of the curators

for Documenta, followed by Mihnea Mircan, a Romanian curator, who is now the director of Extra City, a contemporary art centre in Antwerp. Then Mathieu Copeland, who is an English curator

based in London and Paris, who is now the guest curator at the

Jeu de Paume in Paris. The next curators were a collective: Christ

Sharp and Simone Menegoi, an American curator and an Italian curator. This year, we will work with Pablo Leon de la Barra, a

Mexican curator based in London. So through this series, we try

to show different curatorial methodologies , we want to articulate an exhibition as not necessarily a number of objects in the

room, on the floor and on the wall, but as something else. In this

series, I am trying to show different styles, different intellectual understandings of the world and of contemporary art.

I think it is very important DRAF doesn’t become a tomb, or a

monument, a monument of glory to the collector, David Roberts, or the glory of the director, myself. We can be alive by inviting many people to produce things together and try to learn,

A：你能夠列舉一些體現這個空間理念的具體項目嗎？ V：我希望這裡所有的項目能夠整體呈現我們的創想。但如果要點名某個項目，我應該會選擇“Curators’ Series（策展人系列）”這個項目，是我們委托國際策展人舉辦的一系列展覽。到目前為止，我們已與六位國際策展人合作。我們首先邀請的是北美策展人塞琳那 ·西蒙斯（Cy l e na Simonds），接著是文獻展（Documenta）策展人之一的、來自立陶宛的雷蒙達斯·馬拉索斯卡斯（Raimundas Malasauskas），然後是來自羅馬尼亞，現任安特衛普當代藝術中心館長的米尼爾·莫卡（ Mihnea Mircan ）。還有駐倫敦和巴黎的英國策展人馬西歐·寇佩蘭德（Mathieu Copeland），現任巴黎國立網球場現代美術館（ Jeu de Paume ）的客席策展人，以及分別來自美國和意大利的策展雙星克利斯特·夏普（ Christ Sharp ）和西蒙·蒙那高（Simone

Menegoi）。今年，我們將與來自巴西、現駐倫敦

的策展人帕巴羅·里昂·德·拉·巴拉（ Pablo Leon de la Barra）合作。通過這一系列的合作，我們嘗試呈現出不同的策展方法論，希望闡明一個展覽不是作為一個空間裡、地面上和墻壁上的一些物品展示，而作為別的事物而展示。在這個系列項目裡，我嘗試為觀者展現他人對世界和當代藝術不同的領悟。

“

Mu s e u ms ar e h o u s e s f u ll of th o u g ht s’, a cco r d in g to M arce l Pr o u s t , D R AF c an b e su ch a h o u s e, r ich in s e nsib ili ti e s , s t y l e s , an d vo ice s . 馬塞爾•普魯斯特（Marcel Proust）曾經說過“博物館是滿載思想的穀倉”，DRAF 也致力於成為這樣的一個地方，充滿豐富的情感，風格和不同的聲音。 ----------

Eve r y tim e an ar t wo r k is a cq u ir e d th e w h o l e co ll e c ti o n’s d y nam ic chan g e s . In f a c t , th e w h o l e r ea c t s to th e p ar t s , as ea ch tim e a n ew a cq u isiti o n is m a d e, th e e nti re co ll e c ti o n e x p an d s w i th n ew p ossib ili ti e s of e x is te n ce. T his is an intr insic q uali t y of a co ll e c ti o n: in o r d e r f o r i t to b e ali ve, i t n e e d s to al w ay s b e a c ti v ate d an d r e co nsi d e r e d; i t is al w ay s in th e s t a g e of ‘b e co m in g’. 每一件新藝術品的購入都會導致整個收藏的動態變化。事實上，在每一次新的部份被接納的時候，從整體上整個收藏拓展了它作為一個集合而存在的新的可能性。整個收藏體系是一個內在的有機體：為了保持鮮活的生命力，它總是要求不斷的刺激并不斷地反思以保持自身永遠處於 “ 正在形成 ” 的階段。 ----------

Stu d y is n ot an at te m p t to c ap tu r e o r s e ize b u t a m e th o d o l o g y of e n co u nte r an d th e insis te n ce o n th e p r ov isi o nal as b oth f o r m an d co nte nt w i thin th e p r o ce ss of r e s earch . It is an e xe rcis e in r e sp o n d in g to th e inf i ni te d e m an d s of th e wo r k , n ot m eant to b r in g f o r th any his to r ic al tr u th b u t r ath e r to e nte r into d ial o gu e w i th th e wo r k . 研究或者學習並不是試圖捕捉或者獲取某種知識，而是一種通過研究過程中不斷出現的、在內容與形式兩方面發生持續碰撞的方法論。在面對無盡可能性的作品時，它就成了一項訓練，它不代表能帶來任何歷史的真相，而是一個与藝術品發生對話的實踐。

”

constantly learn. With Pablo Leon de la

最重要的一點是，我希望DRAF 不會成為一個

Latin American scene in London in the 60s

Rober ts）的榮耀豐碑，也不是我本人的豐碑。

Barra for instance, we will research the and 70s.

Maybe another program I could speak

about is called “the Study” in which we isolate an artwork in a gallery. And we

study it, from its materials to its concept.

我們會邀請不同的人合作來進行創作，並嘗試去學習，不斷地吸收新知識來使自己變得有活力。譬如與帕巴羅·里昂·德·拉·巴拉的合作，我們將會研究 6 0 年代和70 年代倫敦的拉美文化景象。

I am really keen on this series. It is an

另外一個項目“學習（the Study）”也值得一提。

artwork.

進行學習研究，從材質上到觀念上的研究。我

in-depth understanding of what is an

A: So there isn’t a set mode for

doing projects? Installation View. House of Leaves movement 2. From left to right: Keith Coventry, 1938, 19942006; Ian Law, Instructional: Complete Work, 2010; George Henry Longly, Escalade/Yellow, 2007; Marieta Chirilescu, Untitled, 2011. Image Courtesy: Mark Blower

陵墓，或一座紀念收藏家大衛· 羅伯斯（Dav i d

V: I don’t want to have any hierarchy

我們將一個藝術品單獨置於畫廊裡，然後對它非常熱衷於這個系列的研究，這是一種深入了解什麼是藝術品的學習。 A：所以你們沒有一個固定的模式做項目策劃？

between a 5 seconds performance, or 5-6

V：我不希望在一個五秒的表演和一個長達五

is important. Everything should have the

為無論哪個都是同等重要的。所有的項目對我

months long exhibition, I think everything same importance to us.

六個月的展覽之間作出任何輕重的評估，我認們都有著同樣的重要性。

A: Do you do anything to promote young artists, curators etc.?

A：你們會推廣年輕的藝術家或策展人嗎？

V: Not necessarily young, because I don’t base my research

V：不一定是年輕人，我們的研究領域沒有輩

on generations. For instance, we recently worked with Bruce

McLean, a historical artist here in the UK, and we work also with

份之分。比如，我們最近才與英國的史學藝術家布魯斯·麥考林（Bruce McLean）合作，同時

emerging artists, as talent doesn’t have any age. It doesn’t make

我們也與一些新晉的藝術家合作，才華並沒有

openings, when you come to our performances you realize our

但當你參加首映、參與我們的活動時也會發

sense to me actually. Having said so, when you come to the

audiences are relatively young, the visitors come to participate with us, they co-produce a culture.

A: Is there anything you are doing to develop new audiences? V: We are speaking a lot with universities. But maybe I should start

年齡的限制。我認為按輩份區分是不合理的。現，前來參加的觀眾都是相對年輕的群體，他們參與到我們的項目之中並與我們共同參與文化生產。 A：你有拓寬新觀眾群的計劃嗎？

with what we are not doing. At the moment, we don’t have any

V：我們正與許多大學聯系，或者我應該從我們

do that. I think it has to be done by someone who knows perfectly

兒童項目，因為目前還沒有這方面的專業人士，

programmes for the children, because we don’t have expertise to

well what he or she is doing. We don’t have a programme for small

communities or groups, as we don’t focus on specific groups. However we are speaking to different universities in London, we do some music and dance as well, so we are bringing in different audiences.

Of course we want to share our activities, but on the other hand we should not compromise them: I don’t want to be

未涉及的領域開始說起。現在我們沒有任何的我認為這個任務必須由那些確實知道如何操作

的專家來執行。我們也沒有與小群體、小組織相關的項目，因為我們沒有將目標鎖定在一些特定的群體。但是我們正在與倫敦的各個大學溝通，同時我們也會加入一些音樂和舞蹈的項目來吸引更多不同的觀眾。

populist to increase numbers. One thing to add: because we

我們當然希望與更多的人分享我們的活動，但我

is then not the audience that should demonstrate the artistic

而變得平民化。還有一點，我們是一個私人投資

are privately funded we don’t have to justify our audience. It

project in the foundation, that is a luxury, and we should really try to keep it as it is.

A: So we may say this is the key advantage of private foundations? V: I think it’s a huge advantage of private foundations. A: Are there any regulations that restrict the operation of the foundation? V: We are not commercial so we can not sell artworks. That’s

們並不希望為了增加觀眾的數目而作出妥協從的基金會，我們不需要向任何機構交代我們的觀眾群。所以我們並不奢望由觀眾來闡明任何藝術項目，而應該保持原樣，任其自由發揮。 A：所以這是私人基金會的一個重要優勢嗎？ V：我認為這是個巨大的優勢。 A：你們需要被一些條例監控基金會的運作嗎？

one of the regulations. And then you have all the health and

V：我們不是商業機構所以不能做藝術品的買賣，

big party downstairs (in the space). But apart from that, we

條列，我們不能通宵舉辦活動，或者在樓下的空

safety regulations. We also can’t be open all night, or have a are quite flexible.

B en o i t M a i r e , S u s pend ed Weapons, 2 0 1 3 . Court esy th e artist; H o l l y b u s h G a r d e n s, L ond on; Cort ex A t hlet ic o, Bord eaux . Image co u r t e s y An d y K e a te.

這是其中的一個規則。然後就是一些健康與安全間舉辦大型派對，除此之外，我們都比較靈活。

A: Are all annual reports accessible to audience?

A：你們的年度報告是否對大眾開放？

V: Yes, legally we have to make this available. The Arts Council has

V：是的，在法律上我們必須這麼做。藝術委員

a lot of things, which of course is totally right. Such as number

在這種情況下，我們必須交代許多事情，這確實

funded us for the Curators’ Series. In this case we have to justify of people coming to see the exhibition, how we promoted the exhibition, where the money went for etc. These aspects were

strictly controlled. OUR ACTIVITIES ARE controlled, ESPECIALLY THE FINANCIAL PART.

會（Arts Council）資助了我們的策展人系列，是合情合理的。例如，有多少人前來觀展，我們如何推廣展覽，資金費用的去向，這些方面都是受嚴格的控管。所以我們舉辦的活動會受到監管，尤其是財務這一方面。

A: Do you have any future projects working with Chinese artists

A：在未來項目裡，你們打算與中國藝術家或策

V: I am shameful: I don’t think I’ve ever worked with Chinese

V：很遺憾的是我們還沒有與中國藝術家或策

the collection though, such as Zhang Huan and a few others. But I

術家，如張洹和其他幾位藝術家。但我們沒有

or curators?

artists or curators. We have a few Chinese artists represented in

never directly worked with Chinese art. Why is that? First, I would need to research and to understand if something like Chinese

contemporary art exists or not. Maybe there is Canton, Shanghai,

Beijing contemporary arts and certain kind of scenes but Chinese as one entity, I would need to discuss that and to research that. Also, does the concept of “contemporary art” applied to the

展人合作嗎？

展人合作的機會。但是我們的藏品中有中國藝直接從事與中國藝術相關的項目。主要原因是，首先，我需要考察和了解中國當代藝術是否存在。或許在中國，有廣東、上海、北京的當代藝術，和類似的文化景象的存在，但是以中國作為一個整體來看待的當代藝術，我需要探討和研究這一方面。

art currently being produced in China make sense? Because

此外，“ 當代藝術 ” 這一概念應用於目前中國創

contemporary art, I also think I don’t have the expertise, I would

藝術理念。對於中國當代藝術，我還沒有具備

this concept of contemporary art is very western. With Chinese

be very prudent with that. It takes me a long time to understand

an artist, to work on a project and then work with the artist.

Actually I worked with a Chinese artist before, I worked with Chen Zhen before.

造的藝術是否合理呢？因為這是個十分西化的足夠的專業知識，所以我必須對此謹慎對待。我需要花一段很長的時間去了解一位藝術家，去進行相關的項目研究，然後與這個藝術家合作。其實，我曾與一位中國藝術家陳箴合作。

I must say I was very surprised when I visited Shanghai. I had

我必須說到上海的時候感到非常驚訝。當時我

Chinese collector. I understood they are commissioning a

藏家工作。我發現他們希望資助建設一座夢寐

a meeting with someone, who is working for a very important building, a major building to dream for, but I found they had no

idea what to do with that.

It may not be only Chinese: contemporary art often has

to be big, it has to be spectacular. I think art doesn’t work

like that. Art is a delayed action in many ways. If you build

a contemporary art collection which is based solely on the

J ohn St ezak er, M arriag e (F ilm Portrait Collage) LXXIII, 2008. 25.1 x 2 1 c m . Collag e. Court esy Dav id Roberts Collection , Lon don .

與一位人士開會，他為一個非常重要的中國收以求的建築，但他們並不知道建以何用。或許不僅僅只是中國人有這樣的問題：當代藝術必須是宏偉壯麗、驚為天人的。但我認為藝術不應該是這樣的。在許多方面上，藝術的影響是依靠時間的推延而彰顯的。如果單單出於表面雄偉壯觀這一目的，那創建一系列的當代

spectacular, you run the risk of this just being a noise to be forgotten three months after you open your museum. So a

collector needs to understand that his action is not in the now, his action is in the future.

A: Which artist from France would you recommend? V: There are many actually, I can name a trilogy: Daniel

Buren, he is extraordinarily important. The second one is Pierre Huyghe, from a different generation, he was

born in 1962,. He will have a solo exhibition this year at the Pompidou Centre. The next one I would say Benoit Maire. Benoit Maire was born in 1978, and he’s using

philosophical concepts and turning them into forms.

Benoit works with films, prints, sculptures, and he does installation. We will have his solo exhibition here in

March. Other artists I could name: Cyprien Gaillard just opened, two days ago, a solo exhibition at the MoMA. Cyprien works with video and installation, very much related to the possibility of disaster and the idea of

romanticism as well. Neil Beloufa is another artist. He

works a lot with images on how they can be circulated

and can be transmitted, and transformed and digested and re-transformed, transcribed.

藝術創作便要承擔風險，或許你所開設的博物館只是一時的響噪，三個月後便會被人們遺忘。所以收藏家必須明白他的一切行動不應該著眼於現在，而是展望未來。 A：你能給我們推薦幾位不錯的法國藝術家嗎？ V：實際上法國有許多很好的藝術家，在這裡我介紹三個吧：丹尼爾·布倫（ Daniel Buren ），他是格外重要的一位藝術家。其次是成長在不同年代的皮埃爾·回約（Pierre

Huyghe），出生於1962年，今年他將會在蓬皮

杜藝術中心舉辦個展。另外一個是博奴瓦·邁爾（ Benoit Maire ），出生於1978年，他會運用哲學的理念將其轉化為各種形態。博奴瓦的創作領域涉及電影，版畫和雕塑，同時他也做裝置藝術。我們從三月份開始就會有他的個展。還有其他很好藝術家，包括希普利安·蓋拉德（Cy p r ien G a i l l a rd），剛在兩天前於紐約現代藝術博物館（M o MA）開辦他的個展。希普利安以短片和裝置的形式做創作，以災難的可能性和浪漫主義為相關主題。還有另外一位藝術家尼爾·梅洛法（Neil

Beloufa），他著手

於大量的圖片創作，研究如何將其傳閱，傳送，轉化，消化和重新改造，再轉錄。

S h a n n o n E b n e r, S c ulpt ures Involunt aires, 2 0 0 6 . C-P rin t. Dav id Ro be r t s C o l l e c t i o n , L ond on

A: Would you like to highlight any particularly remarkable pieces

in the collection?

V: I was thinking about that all this morning. I was thinking about modern art and its relation to the

concept of the masterpiece, and about conceptual art in relation to masterpiece. Modern art was

all about the masterpiece, while conceptual art was originally against the idea of masterpiece.

Referring to the collection, I try to think what are the masterpieces of this collection. Damien Hirst,

A：你能推薦一些藏品系列中最為突出的作品嗎？ V：我整個早上都在思考，怎樣的作品才能算得上

是“傑作”呢？因為現代主義藝術裡“傑作”的概念在當代藝術語境和概念之中是截然不同的，當代藝術從某種意義上來說是反對 “ 現代主義 ” 或者說是反對“傑作”這個概念的（我們應該說是一些重要作品）。所以從我們的藏品系列裡，我會挑達明安·赫斯特（Damien Hirst）的《崇拜（The Adoration）》，2007 年創作的裝置藝術，這是他第一次用純金做的作品；漢斯·貝爾默（ Hans Bellmer ）一件1936年的作品, 是

‘ T h e A d o rat i o n ’ , w h i c h i s a n i n s t a l l a t i o n f r o m

一件向馬歇爾·杜尚（ Marcel Duchamp ）致敬的重要

H a n s B e l l m e r, a w o r k f r o m 1 9 3 6 , w h e r e h e r e f e r s t o

年的雕塑作品，還有菲利普·古斯頓（Philip Guston）、

2007, in which for the first time he’s using gold;

M a r c e l D u c h a m p . I t ’ s q u i t e e x t r a o r d i n a r y. I w o u l d

say Louise Bourgeois’s sculpture from 2007. And

many other works by Philip Guston, Cindy Sherman,

Bruce McLean, Thomas Houseago, Martin Boyce, John

Latham, and so on. Mark Manders’ sculpture is quite

good also, I would say Kris Martin, the big sculpture

作品。還有露易絲·布爾喬亞（Louise Bourgeois）2007 辛迪·舍曼（Cindy Sherman）、布魯斯·麥克林（Bruce McLean）、托馬斯·毫斯戈（ Thomas Houseago ）、馬丁·博艾斯（ Martin Boyce ）以及約翰·拉散姆（John L a t h a m）等藝術家的作品。馬克· 曼德斯（ M a r k Manders）的雕塑非常出色，我認為樓下畫廊裡的大型雕塑作品《克利斯·馬丁（ Kris Martin ）》是一個傑

we had downstairs, is a masterpiece. Matthew

作，馬修·德·傑克森（Matthew Day Jackson）的《倫

highlights of the collection.

之一。

Day Jackson, ‘T he Map of London’, is one of the

敦地圖（ The Map of London ）》也是藏品裡的亮點

Anthony Caro, Down centre, 1984. Steel. 119.5 x 106.5 x 81.5. Courtesy David Roberts Collection, London.

Rita Ackermann, Fire by Days VI, 2011. Oil and spray paint on linen. 233.7 x 167.6 cm. Courtesy David Roberts Collection, London.

Benoit Maire, Untitled, 2013. Courtesy the artist; Hollybush Gardens, London; Cortex Athletico, Bordeaux. Image courtesy Andy Keate.

INTERVIEWED & TRANSLATED BY 採訪及翻譯 MICHELLE YU 余小悅

HYNEK MARTINEC

海德尼克·馬提尼克

IMAGES IN COURTESY OF 圖片提供

HYNEK MARTINEC 海德尼克·馬提尼克

Born 1980 Broumov, Czech Republic, Hynek Martinec graduated

in 2005 from the Academy of Fine Art in Prague. During his stud-

ies he spent one term at Middlesex University, London (2002), and another at The Cooper Union, New York (2004). Martinec’s

work has been exhibited in both national and international venues including National Portrait Gallery and the Prague Biennale.

He is represented in numerous private collections in Europe, including the Department of Prints and Drawings at the British

Museum, London and at the National Gallery, Prague. In 2007

he won the BP Young Artist Award. Hynek Martinec lives and works in London.

海德尼克·馬提尼克生於1980年的捷克布勞莫夫，2005年他畢業於布拉格美術學院，大學期間他曾經作為交換生在倫敦的密德薩斯大學及紐約庫珀聯盟求學。馬提尼克的作品在很多國家展出過，其中包括英國國家肖像畫廊以及布拉格雙年展。他的作品曾被大英博物館繪畫部以及布拉格國家畫廊等藝術機構收藏，同時也被歐洲很多私人收藏家所青睞。2007年，他獲得了英國國家畫廊舉辦的年度肖像大獎的青年藝術家獎。現在海德尼克·馬提尼克生活和工作在倫敦。

Zuzana 1854 Acrylic on canvas, 244x184cm 2012 Courtesy of the artist

Zuzana in Paris studio Acrylic on canvas, 130x110 cm 2006-07 Courtesy of the artist

Zuzana in London Acrylic on canvas, 130x110cm 2011-12 Courtesy of the artist

THE ZUZANA PROJECT

祖珊娜項目

ticular is Hynek Martinec. Born in 1980 in the Czech Republic, Hynek

的藝術家，他就是來自捷克共和國的海尼克•馬提尼克（Hynek

One artists standing out from the exhibition ‘Beyond reality’ in parMartinec graduated from the Academy of Fine Art, Prague. After

spending some time Paris and New York, he now lives and works in London, long enough to be considered a British artist. Within his body

of work he expresses the notion of ‘time’ and ‘space’. Being trained in the traditional means of paintings he works simultaneously on three

projects/series so to call that he is continuously developing. One being “At the same time/Lost in Time” consisting of three distinct bodies

of work drawn together in one space, the other being ” The Cables”, in which he brings together several unrelated aspects such as hyperrealistic painting techniques, portraits and the intellectual impact of

在《現實之外 (Beyond Reality ）》的展覽上有一位非常引人注目 Martinec）。1980年出生的海尼克畢業於布拉格美術學院，曾旅居巴黎與紐約，而長駐倫敦至今的馬提尼克可算是一名英國藝術家了。他的作品闡釋了他對“時間”與“空間”的獨特見解。海德尼克受過傳統繪畫技術的訓練，但是他並不拘泥於傳統之中，他一直在尋求變化，譬如他同時進行的三幅創作而成為一個系列。其中一個系列叫做《與此同時／迷失此時 (At the same time/Lost in Time) 》，當中包括了三幅獨立的繪畫，但展現的是同一個空間；而另一個系列《鋼索 (The Cables) 》則展現了他把毫無聯繫的方方面面融在一起，譬如超現實繪畫技術，肖像，一個對他有啓發的地方，還有對夢境的繪畫，這些都成為了他創作的一部分。

a place and his Dreams’ Drawings, which he uses to understand and remember his nightly dreams, hence often the process of production.

Represented in the exhibition at the Galerie Rudolfinum are three pictures from his “Zuzana” series. The series started when living in Paris

with his girlfriend Zuzana and took the entire stay of one year to come

into being. “I was never concerned merely to capture the face of a

young woman but to tell a story of two people. Similarly to a writer, keeping diary of ordinary events, I sought to tell a story, which is

something I don’t find in most hyper-realistic pictures. Pixel by pixel

and square by square, I worked in the manner of Chuck Close,” describes Martinec. In the end, the picture expresses four elements: 1.

the model, a portrait of Zuzana, 2. the portray of the workshop space in the Parisan neighbourhood, 3. Hyneks self-portrait in Zuzana’s

glasses and 4. a video-installation that was shown as the painting was firstly exhibited at the Czech Cultural Center in Paris.

Like his other project, Zuzana is an ongoing series, witnessing the passages of time and the changes it brings along, turning at the same time into an image of timelessness. As Hynek puts it, “The portrait can

say much more than just if the person is young or old, if he has black or blond hair. It has very important and deep information inside*.”

Hynek Martinec’s Zuzana in Paris and Zuzana in London also indicate a marriage of two simultaneous realities, i.e. that of the photography

and that of the painting. Zuzana in Paris is wearing glasses, the lenses 海德尼克的三張作品在魯道夫畫廊進行了展出，這三張作品來自他的系列畫作《祖珊娜（Zuzana）》。這個系列的創作始於海德尼克在巴黎與其女友祖珊娜同居的時候，海德尼克花了一年時間才完成這個系列。“我並不只是想捕捉一位年輕女性的面容，而是想道出一個關於兩個人的故事。就如作家一樣，每天記下一些普通的瑣事。我想通過我的作品來講故事，但其實很少超現實畫作能做到這一點。我參考了查克•克洛斯（Chuck Close）的繪畫方法，一個像素一個像素地，一個方塊一個方塊地把這些真實畫下來。”馬提尼克說。總括來說，這組作品反映了四個信息，第一是模特祖珊娜的肖像，第二是對巴黎工作室的描繪，第三則是祖珊娜眼鏡裡反射出來海德尼克的自畫像，最後是作品第一次在巴黎捷克文化中心展示時的一個錄像裝置的展出。和其他系列一樣，《祖珊娜》是一個不斷變化發展的系列，見證著時間的流逝與事物的變遷，把此時此刻化成一幅超越時間的圖像。正如海德尼克所說，“肖像畫不僅呈現出人是老是少，有著一頭黑髮還是金髮，更多重要而深刻的信息全在畫裡。”

* Text by courtesy of Indechs - an online archive by Johanna Stemmler & Friedrich Gräfling

of which reflect the space where the subject was at the time the pho-

海德尼克·馬提尼克的《祖珊娜在巴黎 (Zuzana inParis)》和《祖珊

only a monochrome background treated in the manner of a painting.

間的緊密聯繫，正好似是攝影與繪畫之間的關係。《祖珊娜在巴

tograph was taken, yet behind the painted face there is no such space,

Zuzana in London has her glasses pushed up over her brow to reflect a bright beam of light, consistent with a photography session rather

than the lighting used in painting. Both images are of great painterly

quality, but have not lost sight of the photographic template. On the

one hand, there is a typical view en face into the camera; on the other

hand, there is an almost psychological portrait painting. The Parisian Zuzana is carefree, inquisitive, whereas the London Zuzana is full of

fear and uncertainty – the expression of the eye and face indicate the model’s state of mind. The combination of paintwork of the highest order and photography created a fascinating hyperreality, the enigmatic

visual quality of the two portraits. Nevertheless, even more mysterious visuality is offered by Zuzana 1854, a picture painted according to an

娜在倫敦 (Zuzana in London)》闡釋了兩個同時發生的事實之黎》中祖珊娜帶著太陽眼鏡，鏡片中反射出攝影師拍攝那一瞬間的真實空間，而在這件繪畫作品中則沒有這樣的空間，僅僅是用繪畫的方式鋪墊了一層單色背景。《祖珊娜在倫敦》中的祖珊娜將太陽鏡推在她額頭之上，鏡片反射出明亮的光束，這樣的光線運用比起繪畫來說更像是攝影中採用的方式。兩幅作品都表現出作者的傑出繪畫才能，而且同時保存了攝影的表現形式。一方面來說，作品中表現的是一張典型的用相機拍攝的臉部照片，而同時它也是一張描繪心理與靈魂的肖像油畫。在巴黎的祖珊娜是無憂無慮充滿好奇的，而在倫敦的祖珊娜是充滿了恐懼和不確定性的，祖珊娜的眼睛和面部表情表達了她不同的心理和精神狀態。這兩幅作品將最精密嚴謹的繪畫技巧與攝影相結合，創造出了一種引人入勝的、極致寫實的、充滿神秘色彩的藝術語言。

ambroty using the grisaille painting techniqute. It is as though Zuzana’s

《祖珊娜1854（ Zuzana 1854）》這張用特殊繪畫方式創作的肖

like, in part because it lacks all social attribute clothing, hairstyle, and

光的深邃，這件作品中沒有表現服裝、髮型和任何實物細節，使

face has ascended from the depths of time. It is bordering phantomfactual detail. Not only Zuzana’s facial expression, but her very appearance contrasts quite starkey with the previous two pictures, not because of the model’s different age, but on account of the different photographic media according to which the picture has been painted.*

像更加充滿了神秘的視覺體驗，它通過祖珊娜的臉來表現了時得這幅畫好似來自現實與幻覺的交接點。與前面提到的兩幅畫作相比，《祖珊娜1854》中不僅人物面部表情不同，而且整個面部的外觀也有鮮明的反差，是由於運用了不同的攝影技術和顯影介質，而不是因為祖珊娜的年齡變化。

A: 你來倫敦多長時間了呢？

H：我第一次來倫敦是在2002年，當時是作為交換生到米德薩斯

Every Minute You Are Closer To Death Acrylic on canvas, 184x244cm 2012-13 Courtesy of the artist

大學學習了半年。回到布拉格後，2004年是第二次來到倫敦，那次是我第一次和畫廊接觸，我把我十幅畫作賣給了他們。在巴黎留了兩年後，也就是2007到08年吧，我正式開始長駐倫敦。 A：什麼吸引你留在倫敦呢？

H：到巴黎其實是機緣巧合的，我本來沒有打算去巴黎。2005年

“At The Same Time” London Stockwell I. Acrylic on canvas, 70x70cm 2009 Private Collection, London

在布拉格美術學院畢業後，巴黎的一個朋友來信說他會離開巴黎半年，而在此段時間我可以用他的工作室，因此我就有了離開布拉格去探索新城市的機會。當時我只是打算逗留幾個月，但在我朋友從印度回來之前我就找到了一個新的工作室，雖然沒有朋友的那個工作室大，但是怎麼說我也算有了自己的工作室，可以隨心所欲地創作。其實那段時間我就一直在想著倫敦，大概是 2006、07年吧，我知道要在倫敦生活和創作真的很貴，但我確實時常想著來倫敦發展。在巴黎生活確實很美，環境好，人也好，生 33 Years Of Armageddon Acrylic on canvas, 244x184cm 2012-13 Courtesy of the artist

活悠然等等都很好，但問題是巴黎現在已經沒有什麼特別有意思的藝術了。大家都沈溺在過去，藝術環境比較封閉，我感覺很難融入社會。可能因為我法語不好吧，我沒有努力去學習法語。對我來說，整個環境不是很開放，或者再待個二、三十年他們才

A: How long have you been in London?

H: The very first time I came to London is in 2002, as an exchange student. I went to Middlesex University and stayed for half a year. And

then I went back to Prague, and came to London again in 2004 just for two months. That’s when I firstly engaged with one gallery, which

I sold my ten paintings to them. And after that I went to Paris for two

years. So I came to London around 2007-08, for the first time to stay for long.

A: What makes you stay here?

H: I went to Paris by accident, it wasn’t my plan to be there. Because when I graduated in 2005 in Prague, at the Academy, I got an email

from one friend who has a big studio in Paris, mentioning that he would be leaving Paris for half a year, and he gave me an offer that

I can use his studio when he was away. So I had the opportunity to

leave Prague and also to discover a new city. At that time I was just planning to stay for a few months. When my friend came back from

India, he continued to use his own space. But before he returned, I

got a new space, though much smaller studio, I got my own space

and I could work. But at the same time, I was always thinking about London. I mean around 2006-07, I always knew that London was such

an expensive place to set up a studio and live at the same time. So you know it’s quite tricky for me, but I always wanted to come here. Living

in Paris is amazing, there’s great atmosphere, nice people, good life,

and everything. But the problem is, there is no interesting art nowa-

days, it’s very past, it’s very closed, it’s very difficult to get in the society. It’s true. Because my French is very bad, I didn’t learn the language, anyway. I mean it doesn’t seem very open, but I think maybe staying

*Quoted from ‘Beyond Reality British Painting Today’, text by Czech art historian, art critic and curator, Milena Slavická.

another 20 or 30 years, they may start to realize that this guy wants

會意識到“這個傢伙想長期在巴黎發展”。在起步的階段他們不

what I felt. At the beginning, my journey didn’t get any feedback, and

沒有得到任何反饋，而更重要的是，我發現我的藝術創作正在向

to stay here. They will not give you a chance at the beginning. This is the most important thing is, I felt that my kind of art is going to a dif-

ferent direction in the taste. Because they prefer more abstract paintings, they are quite stuck in the 60s, and I want to do hyper-realistic

paintings, I want to do what I am doing now. And I feel that I really suit to this society here where I am in London, and America as well. So I like

being in Paris, but it’s very different. The main reason I stay in London

is contemporary art world is here, it’s more about your concept, not

art form. I think if you go to Europe, to any other country, you will find out London is the most exciting, the biggest, international city, which is very important to me. And there are lots of mixing ideas at the same

time. If you go to others like Berlin or Paris, they are a bit stuck by

the society, I mean Paris was good a hundred years ago, but I think London now is very open, having so many artists, lots of ideas, and

it would not end up in one day. It’s always changing, and the artists always follow that. I do feel that London has something more interesting, more vibrant. You might find out interesting ideas in Paris, people

會給你很多機會，當然這是我的個人感覺。所以一開始的時候我另一個方向發展。在法國，人們比較鍾情抽象繪畫，他們有點被 60年代所束縛，但我想向超現實繪畫發展，也就是我現在所作的。我覺得倫敦和美國更適合我一些。我喜歡巴黎，但那種喜歡不太一樣。我留在倫敦的一個主要原因是這邊的當代藝術氛圍濃厚，這裡更注重概念，而不是藝術形式。對比歐洲別的地方，倫敦是最讓人振奮的一個城市，最大的國際都市，我覺得這點非常重要，這裡有很多不同的想法交織和碰撞。在柏林或巴黎，你會感覺當地有點被社會所牽制。一百年前的巴黎很不錯，但現在倫敦更為開放，有更多好的藝術家和想法，而這裡一直都在變化，藝術家也在不斷改變和發展自己的創作。我個人認為倫敦更有趣，更有活力些。巴黎也有很多有趣的事情，人們更愛談論藝術，但是他們更多只是談論而沒有付出行動。但在倫敦就不一樣，你必須付出行動。如果你想辦一場展覽，想建立一些聯繫，想與某些人見面什麼的，你必須切實去做，而不是說說而已。這是我在倫敦學到重要的一點。

like to talk about art much more than here, but sometimes it’s just

A：第一次來倫敦後對你的藝術創作有什麼重要影響嗎？你從一

action. If you want to do an exhibition, do some contacts, meetings,

同的社會呢？

talking, not doing it. What I like about London is that you have to take whatever, you have to do it. And that’s what I learn about London.

A: Are there any great impact on your art when you first come to London? Since you come from former –communist country to capitalism country. How do you get into this totally different society?

個前社會主義國家來到資本主義國家，你是怎麼適應這兩個不 H：說實話，其實是挺困難的。有些事情我到現在也沒能理解。有時候我很討厭它，但有時候我又很欣賞這樣的社會體制。這裡有著非常嚴格的規則和制度，當我從巴黎來倫敦的時候我就發現了，而且很贊同這樣的做法。我覺得巴黎沒有很好的規則，或者說規則不是很明確。我經常用地鐵來作例子說明這種差異。

“At The Same Time” Oil and acrylic on canvas, 20x60cm 2009 Private Collection, Berlin

如果你在布拉格坐地鐵，你會發現沒有任何閘口或門，所以你買不買票坐地鐵都是靠自覺的。不是所有人都會自覺買票，但這是對你自身道德的考驗，你可以買票坐地鐵，但你也可以不買票直接上車，或許你會想“我只是坐一站而已，為什麼要買票呢？”所以，門是隨時開著的，買不買票是取決你自己。在巴黎你會發現很多不同的門，但是很多人視若無睹地直接越門而進。我可不是開玩笑，沒有人會阻止他們，真的太神奇了。相信我，現在還是這樣的。人們還可以在地鐵裡抽煙、撒尿，干各種事，這些在布拉格都不允許發生。所以我覺得巴黎有規則，但是人們可以逾越這些規則，他們可以無視這些規則。這是多麼諷刺的事啊！他們根本就不在乎，在我看來這太不可思議了。但是在倫敦，存在著另一種系統規則。每個地鐵站都有兩個工作人員，一個在崗位坐著，一個在閘口旁邊站著。在巴黎，如果有人在地鐵站追逐奔跑就像沒事發生一樣，因為每天都會發生。可是如果這種事情在倫敦發生，他們會把你殺了。這裡有十分嚴格的規則，沒有空子可以鑽。 A：倫敦這裡還有便衣檢票員。

H：對的。在巴黎和布拉格，你老遠就能看到穿著制服、別著胸章

H: It’s very difficult, to be honest. There are things that I still don’t understand in the society or somewhere. Sometimes I hate it but sometimes I really appreciate it. If you come here, there are very strict rules,

and I really appreciate it when I came from Paris. I think in Paris there are no very good rules, not clear rules. I always give the example of

the underground, the underground is the good example. If you go to

的檢票員。倫敦有一種明確的制約。所以作為藝術家，一開始的時候我真的很喜歡這種系統。因為如果你犯規了，你知道你將面臨被懲罰的風險。但是在巴黎，你知道你可以逃過懲罰。在布拉格，根本就沒有人責問你，走就是了。所以說在倫敦，萬事皆有準則，而且是非常嚴格、明瞭的規則。那就是為什麼我一開始很喜歡倫敦的原因。雖然有時候過於死板，但現在我發現有些地方也

metro in Prague, we call it metro, or underground, we don’t have any gate, you can just go through, which means that it’s up to you to buy a

ticket. Not all of them do it anyway. But it’s your morality, it’s question-

ing yourself, if you want to use the metro, buy a ticket, and it will take you in the system somewhere inside. But you can pass it without paying, you can go, if you think ‘I just go one stop, why shall I pay’? So the gate is open. If you go to Paris, there are quite big different gates, but

lots of people jump over it. I’m not joking. No one catch them. Amazing! It’s still happening now. Believe me. And people can smoke in the underground, and pee, and everything in Paris, which you can’t do in

Prague. Anyway, so the idea is, there are borders, there are some rules, but they can jump, they can ignore it. That’s the irony. They don’t care. I think this was ridiculous. But in London, this is another system. They

have two persons, one sitting in the box, and one standing by the gate. In Paris, if one running and jumping in the underground, nothing

would happen, because it’s happening everyday. But when you come

to London, if you do that, they will kill you. There are very strict rules here. No way to escape.

A: They have undercover inspector as well.

H: Yes, exactly. In Paris and Prague, you can see them miles away,

“At The Same Time” Istanbul Acrylic on canvas, 70x70cm 2009 Private Collection, Prague

wearing proper suit, having their names on. Anyway, I would say this

不是那麼緊張的，倫敦也有很多自由開放的方面。微妙的是，過

the beginning I really like it. Because I thought I knew what I could

你可以對比這些城市的優劣，倫敦有很大的自由度，你可以做任

is that kind of controlling. So being an artist in this sort of system, at get from the society, which you can realize. When you go over red line, you know that you are facing a penalty. But in Paris, you know

去的倫敦是受體制支配的，但現在卻受金錢支配了。無論如何，何你喜歡做的事。雖然成本非常高，只有強者才能留下來。

you are not facing penalty, because I can run away. And in Prague, no

我想有這樣的壓力是好事，因為這樣你就更有動力去創作，你想

very clear. That’s why at the beginning I really like it when I came in

拉格這樣慵懶的城市，我沒有批評的意思，在那也能成長。但是

one even ask you. You just go. So here in London it’s always strict, it’s 2008. Sometimes it’s too much tight here, but now I’m very happy to

discover that some places in London are not very much controlled, which is quite free and open. And also the other thing is quite tricky,

in the past they were dictated by regime, and now is by the money. But you know, you could compare it. Because there’s freedom here, you can do whatever you like. But it’s very expensive, just the strong one can survive.

I think at the same time it’s very good to have those kind of pressure, because you want to produce, you want to be good, you want to paint,

you want to show the good works to people, you want to beat it. Be-

cause if you are right in the sleeping place in Paris or in Prague, which

I’m not criticizing, it is a good place to work, it’s still growing as well.

要變得更好，想要把好的作品呈現給大家。如果你在像巴黎或布我需要這樣的競爭壓力。作品的出售或尋找畫廊代理這些是另一方面，倫敦是全歐洲最好的地方，不僅僅是關於好藝術，好畫，而是畫廊的支持，各方面的幫助，但前提是你得足夠好才能得到這些。從2000年開始我就覺得倫敦是一個有趣的地方，值得逗留的地方。其實很難能找到一個適合的藝術環境和獲得關注。因為藝術圈實在是太大了，基本分為兩個圈子，一個是非常商業化的圈子，那裡有不怎麼好的畫或藝術品，差得像垃圾一樣，另一邊則是像Frieze一樣重要的圈子，但是非常難進入。許多人會批判藝術與金錢掛鉤，有些藝術家就盡量避免和金錢扯上太多關係，怕藝術被金錢污染。但我認為安尼施•卡普爾（Anish

Kapoor）說的話很實在：“好的藝術品總會與金錢靠得

But I need this kind of competition as well. On the other side, if you

talking about the selling works and having the gallery and representing, that’s the other thing. London has the best in Europe. So it’s not about just good art, good work, but also how the gallery support, how everything is supported, but you need to be good to get that. I would

Madrid Airport Acrylic on canvas, 2x80x80 cm 2007-08 Private Collection “sammlung FIEDE”, Aschaffenburg

say that since 2000 I thought London was an interesting place to be.

It’s just difficult to get in to make an attention and so on in the right art world. Because the art world here is very massive, so they are like two

circles, one was extremely commercial, in a way there are bad paintings, bad art, something like rubbish, and on the other side it’s like Frieze, which is very important, and that’s very difficult to approach.

Many people would criticize that art shouldn’t be involved with money. Some artists are like that, ‘no no, just don’t touch it’. But I quite like

the words that Anish Kapoor once mentioned, ‘Good art has always been near money’. And I think that is the answer because if we think about the past, for example the Christianity, which was always being

painted a lot, produced good paintings, produced good art, a good

fresco, a good chapel, whatever. It costs lots of money because it’s

肖像畫對我來說很重要，因為我喜歡故事，而在每一張臉上其實都能看到故事。在看肖像畫的時候，你可以感受到人物的性格，知道他是否不安。

never cheap. I think the problem nowadays is that maybe the money

is everywhere, maybe the taste, and politics maybe are ruining it, be-

cause they think that they can buy everything, and they are able to

很近。”我認為他說得很對，回想過去那些藝術史上的驚世作品，

the good artworks will survive, will always stand out from the bad art.

的作品，壁畫啊，教堂啊等等。這些作品都需要大量金錢來支持，

spend money on rubbish, and that’s what it is quite bad. I believe that

But I think it’s up to artist to really decide where to sell the work, and which art fairs to join, and the galleries and so on. It’s very easy to get lost in the art world. There is so much going on, and it’s not just about

what you want to do as an artist, but also where you want to meet as an artist, which society you want to be, what is your audience, what

gallery is and so on. So I mean it’s very big complex of this, but I don’t think you will get this in Prague. In Paris you will get it but in a small scale, not like here. It is difficult at the same time, but on the other side, it’s a challenge, and opportunities are still here at the moment. A: Which moment would you consider as a significant one?

H: I think I know what I want to do now. I know where I am now, and

打比方說關於基督教主題的經常反覆出現，也誕生了很多很好但並不因此變得俗氣。我認為當今的問題是，金錢隨處都是，關係或許在於品味，或者政治在一定程度上摧毀藝術，因為人們覺得自己有錢就可以購買任何東西，他們花錢在垃圾上也沒什麼大不了的，我覺得這樣的風氣不是太好。我相信好的藝術品是能傳世的，能從劣質藝術品中脫穎而出的。但有時候也需要看藝術家如何抉擇，哪裡賣畫，參加哪個藝術博覽會或加入哪個畫廊等等。在藝術圈裡很容易會迷失，因為實在太多事情要考慮了，不但需要想清楚作為藝術家要怎麼做，還需要考慮在哪裡作為藝術家而出現。我覺得這是一個挺複雜的事，在布拉格就不會經歷這樣的考驗。在巴黎可能會有類似的的經歷，但規模都小得多，不像在倫敦。雖然很艱苦，但是同時這也是一個挑戰和機遇。

I know where I want to be. So I think this is quite ambitious of what I

A：有哪個瞬間或時刻會讓你覺得非常關鍵？

very important to me. So I just want to demonstrate this, what I’m just

己所處的位置，知道自己想要到達哪個層次。也許這麼說起來有

or not, but I have the plans and I think they really fit to somewhere.

鍵，我需要清楚知道自己的藝術方向要怎麼發展。所以我想說最

said, but I feel quite clear now is my work, I don’t feel lost. And that’s

saying, I’m just creating new works, and then realize that I was correct

A: Why do you like portrait?

H: This is a big question. I think portrait is very important to me, be-

H：我認為應該是知道自己現在要做什麼的時刻吧，知道現在自點自負，但是我現在覺得自己一點都不迷失。這個我覺得極為關重要的是我自己清楚知道現在創作新作品，知道自己哪裡做得對或不對，知道在何時使用何種策略。

cause I like the stories and I think you can see in each face. If you look

A：為什麼你對肖像情有獨鍾呢？

sitter is struggling. I mean there is so much information about us. If I

故事，而在每一張臉上其實都能看到故事。在看肖像畫的時候，

at the portrait, you can find out the character, you can find out if the look at your arms, I could say you have a lovely arm, but I wouldn’t be able to see how you look, how your eyes look like, how your hair looks like, how you smile. And I like all those details about each person, and

I think that’s what makes people so unique from each other. So that’s

why I am so into portraits. If the art is able to capture these real things from people, from the face, and turning into painting, I think that’s really amazing.

H：這是一個很大的問題。肖像畫對我來說很重要，因為我喜歡你可以感受到人物的性格，知道他是否不安。我認為我們身上藏著很多的信息。當你看一個人的手臂的時候，你會說他的手臂很漂亮，但是我們看不到這個人的長相如何，眼睛長什麼樣，頭髮是怎樣的，笑容是怎樣的等等。我喜歡觀察每個人的細節，我想這些細節決定了每個人的獨特性，所以我喜歡肖像畫。如果藝術可以從人身上，臉上捕捉到這些真實然後把它化為圖像，我覺得特別可貴。

Shoran Jiang was born in 1982 in Tianjin and in 2005 she obtained a bachelor’s degree in Department of Oriental Art,

Nankai University, two years later she got her first master degree of Oriental Art in Nankai University. After that, she came to

London and studied and gained another master degree in Fine Art from Chelsea

College of Art and Design of University of the Arts London. Now, she lives and works in London.

姜嘯然，1983年生於天津，2005年在南開大學東方藝術系獲得學士學位，2007年獲得南開大

學東方藝術系碩士學位，2009年獲得英國倫敦藝術大學純藝術碩士學位，現定居倫敦。

TEXT BY 撰文 HARRY LIU 劉競晨

TRANSLATED BY 翻譯 SYNDI HUANG 黃煥欣

IMAGES COURTESY OF 圖片提供 SHORAN JIANG 姜嘯然

LEARNING AND EXPERIENCE 感悟與經驗

Confusion 02

As for Shoran Jiang, every piece of her art-

works is inspired from her experience of life. Same as that of the traditional Chinese thinking, the emphasis of Chinese painting is on the belief that moderation is the bal-

ance, not in pursuit of excessiveness. The characteristic of steadiness similar to the long-lasting flowing stream water acquires Chinese painting a quieter quality. This is the education of painting that Shoran has received

對於姜嘯然來說，每一幅作品都是她對於生活生命的體悟。

es has to some extent stimulated her creation of arts. Her past painting

中國畫如同中國傳統的思想一樣，講究的是中庸是平衡，它所追

at this time. She puts her life experience into her artworks.

的特質。而這些，正是姜嘯然在中國所接受的繪畫教育。在來到

in China. Since Shoran settles down in London, life and emotional chang-

experience of blindly seeking moderation has come cross great changes

In China, she was given academic education of Chinese traditional tech-

niques, painting compositions and aesthetics. However London has opened up her vision. She has also been influenced by western female

求的不是刺激。這種如細水長流的質感，使得中國畫具有更安靜倫敦之後，生活的變化，情感的變故，從某種程度上刺激了她的作品。她原來那些一味求平和的繪畫經驗，在這個時候發生了很大的變化。她把對於生活的體驗加進了自己的作品當中。

artists, such as Frida Kahlo, Leonor Fini and Tracy Emin. These women

在中國，她所接受的是中國傳統的技法、繪畫構圖和審美美學的

The way they are not intent to follow the rules to express themselves has

如弗里達·卡羅（Frida Kahlo）、萊昂諾爾·菲尼（Leonor Fini）和

artists create artworks with profound personal will and life experience. greatly affected Shoran.

Then she chooses the women’s perspective, the theme of suicide, for fur-

ther studies and experiments. Western critics commented, “ If Shoran’s

學院教育。而到了倫敦之後，她的眼界打開了，她也受到了西方崔西·艾敏（Tracy Emin）這些女性藝術家的影響。這些女性藝術家的作品具有強烈的個人意志與生活體驗，她們的不按規則出牌的表達方式深深觸動了嘯然。

works are only viewed from the origin of the oriental culture, there will

於是，她選擇了女性這一視角，選擇了自殺這一主題，深入挖掘。

the sophistication she reveals to us is somewhere else, some other world,

從東方文化的起源，來看待嘯然的作品，而得出一個敘事性的結

be a foreseeable mistake to derive a narrative conclusion. The way and

or rather an entire world.” In my opinion, “the somewhere else, the some

other world” Shoran is revealing is her inner world, her actual experience

towards the cruelty of life, the experience that women in the world have in common.

西方評論家如是說：“這裡有一個可被預見的錯誤，就是如果單論。她展現給我們的，那種方式，那種詳盡，是別的地方，別的世界，或者說是全世界。”在筆者看來，嘯然所展現的“別的地方，別的世界”正是她的內心世界，正是她對於殘酷生活真真實實的體驗，而這種體驗亦可說是全世界共有的女人的體悟。

Rebirth 01, 02

CONCEPTS AND OUTCOMES

觀念與結果

concepts that are being experimented by various contemporary artists,

的觀念，有些也許在歷史的長河中會越發閃亮耀眼，而有些也許

The foremost importance of contemporary art is concept. Among the

some probably will become more and more prominent in the course of

history, whilst some will likely be forgotten as guinea pigs. The artists hav-

ing been remembered seem to be avant-garde, even not being accepted by the general public at the time. But it is exactly their bold and advanced concepts that make their works more and more valuable along with the time passing by.

For the present creation, Shoran has been through in-depth thinking,

and at the same time she has come cross some changes. Her concepts are seen bold or advanced. She acknowledges that improvement of her

當代藝術最重要的就是觀念，這種在當代被各個藝術家所實踐會成為了那些被人淡忘的實驗品。那些被人們記住的藝術家，在當時看來，是前衛的，甚至是不被大眾所接受的。但是正是他們大膽超前的觀念，使得他們的作品隨著時間的推移而越發珍貴。對於現在創作，姜嘯然是經過深思熟慮，也是幾經變化。她的觀念可以說是大膽，或是說超前。她也深知，自己的作品還需要不斷的完善，今後的道路還很長。在藝術道路上，十幾年的學習與歷練，讓嘯然變得更加謙虛謹慎。她並沒有想著自己的作品會被大眾所接受，現在就是專心創作，積累，磨練，完善。

works remains needed, and she has a long way ahead. Ten years of learn-

嘯然的優勢在於，她對中國文化的研習與理解，同時她在西方

more modest and prudent. She does not expect her artworks would be

在一個很高的平台上，接觸到了全世界優秀藝術的基礎上，結

ing and experience on the way of pursuing arts has made Shoran become

accepted by the general public. Now she is concentrating on her own

creativity, on accumulating experience, cultivating and improving her concepts and skills.

Shoran has the advantage of her learning and understanding of Chinese culture, and in the meantime, she receives the influence of Western arts. The works she creates while being in London lie in a high standard level,

as they are the outcomes based on the world excellence of arts, and the

也接受了西方藝術的熏陶與衝擊，她來倫敦之後的作品，是站合了中西文化思想的背景之下創作出來的。對於她的作品，中西方藝術評論家雖有著自己不同的解讀，但是對於其材質、形式、內容以及觀念，都是大加讚許。中國藝術評論家認為“以女性自殺為原點蔓延衍伸，視野之開闊，心襟之慈憫，囊括了中西方的理念。”而西方藝評人認為“這些作品的形式非常好，而在今後，誰知道這個主題將會引領嘯然到何種的更大的空間，何等的深入的想法。”

combinations of the creativity out of Chinese and Western cultural think-

確實，姜嘯然的這個關於人生、人性、生命、傷痕的觀念主題，將

different interpretations, but enormous compliments are paid on the

藝術道路上，她對於這些主題的思考與探索，將會將她引向何等

ing. Of Shoran’s works, Chinese and western art critics hold their own material, form, content and concept that are being applied. Chinese art

critics commented, “While containing the Eastern and Western concepts, it is such a broad viewpoint and tender empowerment to stand from the point of female suicide for further experiments and studies”. And western

critics expressed, “This form of artworks is marvellous. No one could ever

foresee what kind of greater dimension and in-dept thinking this theme is going to lead Shoran to in the future. ”

Indeed, where will Shoran’s concept of theme in life, living, humanity, and

pain bring her to in the course of her art creation in the future? When she becomes more and more mature in her pursuit of art, what kind of vast

space will her thoughts and exploration of the theme lead her to? Let us be patient and look forward to it.

會在今後的藝術創作中將她引向何等空間？在她越來越成熟的廣闊之天地？我們拭目以待。

《當代藝術委託指南》

COMMISSIONING CONTEMPORARY ART

TEXT BY 撰文 MICHELLE YU 余小悅

TRANSLATED BY 翻譯 SHORAN JIANG 姜嘯然

The definitive guide on everything one needs to know about commissioning contemporary art.

一本介紹關於當代藝術委託相關問題的指導手冊。

COMMISSIONING CONTEMPORARY ART: A HANDBOOK FOR CURATORS, COLLECTORS AND ARTIST In an age of blockbuster exhibitions and public art projects, the most exciting art-

在當今這樣一個大型展覽和公共藝術項目風起雲湧

event. This invaluable guide reveals and demystifies every stage of the commission-

委託定製的形式而產生的。這本珍貴的手冊揭示了

works are often those that have been specially commissioned for a specific site or

ing process—from the initial invitation to an artist and the financing of a project

to the final installation of works. Combining theoretical and conceptual considerations with practical ones, the text is supplemented with copious quotations and

insights from some of the best-known artists, curators, commissioners, and museum directors of today. It is an essential guide for anyone involved in the process of commissioning new art—private collectors, foundations, public bodies, museums,

galleries, and artists themselves—as well as those fascinated by the inner workings of the contemporary art world. To give the reader a more detailed insight into the book, ART.ZIP interviewed the book’s co-author Daniel McClean.

Daniel McClean is the co-author of this book, he is a lawyer specialising in Art Law

and Intellectual Property Law at the London based law firm, Finers Stephens Innocent LLP. He is also an independent curator and was co-curator with SUPERFLEX of the exhibition‘In-Between Minimalisms’and the project‘FREE SOL LEWITT’ at the Van Abbemuseum, Eindhoven, 2010.

的年代，最為激動人心的藝術作品往往是通過藝術藝術定製委託項目中被神秘化的每一步流程—— 從向藝術家發出邀請到最後施工項目的融資。將實際操作和理論概念相結合，不僅僅提供了文字介紹更是輔以豐富的報價和知名藝術界從業者的見解。對於收藏家、藝術機構、畫廊主、藝術家等與藝術委託項目相關的人來說，這是一本不可多得的必備讀物。為了讓讀者更為詳細的了解這本書，我們特地採訪了此書的聯合作者丹尼爾·麥卡林。律師丹尼爾·麥卡林是《當代藝術委託指南》的聯合作者，他在倫敦一家名叫凡納斯斯蒂芬斯公正律師事務所裡專攻藝術法和知識產權法。作為一位獨立的策展人，他於2010年在埃因霍溫與SUPERFLEX共同為範納貝美術館策劃“極簡主義之中”的展出和“自由索爾萊維特”項目。

A: We go through the whole book and we think technically it’s really help-

ful. Because in China really rare artists notice this (art commission) is a big market.

A：這本書從技術上來說真的很有幫助。在中國，很少有藝術家能夠意識到（藝術委託項目）是一個很大的市場。

D：這是有巨大市場的！我其中一個初期的藝術項目就是在

D: It’s huge! Because one of my first jobs in the art world was in Tokyo, Japan,

日本東京，當時為南條史生（Fumio Nanjo）工作。他在日

Japan. It’s amazing. Now he is the director of the Mori Art Museum in Tokyo.

京森美術館的館長了。所以我會說藝術委託項目是一個巨

I worked for Fumio Nanjo. He has done many of the big art commissions in So I would say it’s a huge area.

本做了許多非常好的大型藝術委託項目，現在他已經是東大的領域。

A: In China, people only do commissions for personal portrait, for proper-

A：在中國，藝術委託項目一般都是個人肖像，或者是房地

in the west is not that limited.

目並不是如此局限。

cil and etc. You also have many other types of commissions.

創作，或者地方政府委託等等，還有許多其他類型的藝術

ties and as such, now more and more Chinese people realize commission D: No, it’s not. You have public commissions for parks, for hospitals, for coun-

A: Having said the commission, how do you define the concept of com-

產項目。但現在越來越多中國人意識到西方的藝術委託項 D：確實不是。這邊有公共委託項目，譬如為公園、醫院等委託項目。

mission?

A：那麼對於藝術委託項目你怎樣定義的呢？

sort of direct relationship between an artist and the person or entity to cre-

常私人的關係，是藝術家與委託人或委託團體在某種形

D: That’s a very good question. Commissioning is really personal, is in some

ate a new work. Historically commission was directly linked to patronage, to individual artists being commissioned by rulers or kings or the church like, the Vatican, like Michelangelo commission for Sistine Chapel. So it implies very personal access between the artist and generally the collector.

Contemporary could be more complicated. But generally, the idea of com-

mission is linked to patronage, and that’s what we explore in a historical over-

D：這是個非常好的問題。藝術委託項目反映的是一種非式上的直接關係而產生的新創作。從歷史上看，藝術委託項目直接連繫的是資助方（patronage），藝術家受到統治者、國王或者教會的委託來進行創作，譬如米開朗基羅為西斯廷教堂所作的作品。因此，它隱含著藝術家與藏家的私人聯繫。

view that goes from the Medicis, to the De Menils, who have this great com-

當代藝術委託項目更為複雜些。但是總體來說，藝術委

the DRAF foundation (David Roberts Art Foundation in London) that contin-

能找到線索的，從梅第奇家族（the

mission of Rothko for the chapel in Austin, Texas. But then this line goes into

ues the commissioning activities, so historically it’s about a link to patronage

託項目的概念與資助緊緊相聯，這也是我們從歷史上爾夫婦（the

Medicis）到德･梅尼

Menils），德･梅尼爾夫婦曾委託羅斯科

and often with private collectors, or states and institutions. In the contempo-

（Rothko）為德克薩斯州德奧斯汀德教堂所創作出宏大

has evolved into a typology, a different types of people and organizations to

基金會（David Roberts Art Foundation—DRAF），他們仍

rary fields which what we explored in the book, the idea of commissioning involve commissioning art works.

So we identify six main models, there’s the private collector, there’s the institutional collector, like Tate, MoMA, there are event commissions like Performa

in New York which commission for the collection of temporary exhibitions,

there are not-for-profit organizations, Venice Biennials, and there are private

的作品。然而之後，這條線索延續到大衛･羅伯茨倫敦藝術繼續著進行各項藝術委託項目。所以從歷史上看，藝術委託項目是與藝術資助、私人藏家、政府或者機構緊密相連的。我們在這本書中所探討的是當代藝術領域，藝術委託項目的概念已經形成了一門類型學，即人或組織參與到藝術委託項目的不同類型。

foundations, and then there are city governments. Like just we have said, lo-

所以，我們歸納了六個主要類型，為私人藏家創作；為收

also has quite public dimension, historically, because it’s often being linked

館（MoMA）；為藝術活動創作，比如為紐約的佩佛瑪（Per-

cal spaces, transport systems, hospitals, it’s all sorts of aspects. Commission

藏機構創作，比如泰特美術館（Tate）、紐約現代藝術博物

to the creation of sculpture. Sculpture commission has often been linked to

forma）的臨時展覽而創作；為非盈利組織創作，比如威尼

memoration of important people, individuals for specific spaces.

們已經說過的，公共空間、交通系統、醫院等等各方面都

monuments and memorials dealing with war, with commemorating, com-

A: So you co-write the book with Louisa Buck, what’s your role then?

D: I was writing about the legal aspects of commissioning, and I also did a lot of interviews, in a sense, the conceptual framework of why people commis-

斯雙年展；為私人基金會創作；以及為城市政府創作。像我有。藝術委託項目也有相當公共的層面，因為從歷史上它往往與雕塑創作相關聯。雕塑的委託項目經常與戰爭和紀念相關，在特定的地點空間以紀念重要的人和個體。

sion today. So for example, I think commissioning is like a same thought of

A：這本書你是與路易莎･巴克（Louisa Buck）合著的，你撰

that don’t exist in the world, in often-different things like creating context at

D：我所寫的是關於藝術委託創作中會涉及法律的方面，

contemporary art, because commissioning practices are creating new things

寫的部分主要是哪些呢？

the galleries, and current exhibitions of museums exhibitions. So if you

我也做了許多的採訪，從某種意義上說，就是人們現在為什麼

profit production agency, commission all the projects of last two decades,

項目跟當代藝術的想法是如出一撤的，因為藝術委託項目是創

look at art organization like Artangel, which is commissioning not-for-

extraordinary of Matthew Barney to Rachel Whiteread, all of these different artists generally made very interesting projects. There are new spaces though since commissioning is also entering the field of the collection.

There are two interesting projects discussed in the book of incredible novel and the important one is called Inhotim, which is in Belo Horizonte,

Brazil. Inhotim is a museum privately owned by a steel magnate, Bernado

Paz in Brazil. It’s set up as a museum and a landscape. And there aren’t

要進行藝術委託項目的概念框架。舉例來說，我認為藝術委託造世界上並不存在的新事物，在很多情況下，譬如在畫廊語境下，在博物館展覽語境下創建新文本。所以像藝術天使（Artangel）這樣的藝術機構，它是非盈利的藝術委託創作中介，在過去二十年裡，從馬修･巴尼（Matthew Barney）到雷切爾･懷特雷德（Rachel Whiteread），這些形形色色的藝術家都做出了非常有趣的藝術委託項目。藝術委託項目還是有很大發展空間的，因為它已經漸漸涉足收藏領域了。

any walls, everything is outside, if you walk through the jungle, and you’ll

書裡還談到了兩個非常有趣的項目，其中一個重要項目是

house, different commissions, the things like Doug Aitken, Matthew Bar-

《Inhotim》是一家私人博物館，為巴西鋼鐵大王貝爾納多･帕

for this place, or beyond, outside the space, being reinstalled, reformed

hotim》沒有牆，所有作品都是露天的。當你穿過叢林的時候就

see the difference. In Inhotim there are many architectural structure of

ney, Lawrence Weiner, and they all have made projects which is specific within the context of Inhotim. So Inhotim is a very interesting model,

which is also a model of a very interesting project.

Patrick Charpenel, Mexican curator, he’s organizing project for Agustin

Coppel in Culiacán of Mexico, which is a drug war zone, and they are creating a commission structure which is based on a botanical garden. And this is for local people, so he’s commissioning amazing artists to make

projects, like James Turrell, Franz West, Olafur Eliasson, all these amazing

artists are backing to make projects for the Botanical Garden, in drug war zone of Mexico.

So one of the things about commissioning which I think it is important,

it expands our inner sense of outside the white gallery cube space, so you have commissions and public spaces. I think one theme of the book

is how commissions engage with place, in a sense of place, often with

community, but being amazing trends and art where contemporary art

在巴西的貝洛奧里藏特（Belo Horizonte），名為《Inhotim》。斯（Bernado Paz）所擁有。作為一所博物館和自然景觀，《In會發現各種各樣的作品。《Inhotim》有各種建築結構的空間，各式的的藝術委託作品，譬如道格･艾特肯（Doug Aitken）、馬修･巴尼（Matthew Barney）、勞倫斯･韋納（Lawrence Weiner）等等的作品，這些藝術家都為《Inhotim》定製了新作品，無論是《Inhotim》範圍內還是周邊，這些新作品在《Inhotim》的語境加入了新的文本或改變了原有的文本。所以我認為《Inhotim》是一個非常有趣的模式，同時也是有趣項目的一個範本。墨西哥策展人帕特瑞克･卡潘諾（Patrick

Charpenel）受奧古

斯丁•冦博（Agustin Coppel）委託在庫利亞坎（Culiacán）進行了一個藝術項目，名叫《植物園（Botanical

Garden）》。庫利亞

坎本是墨西哥一個毒品戰爭地帶，帕特瑞特別邀請了眾多藝術家為當地居民進行了這個植物園的藝術建構，支持該項目的藝術家包括詹姆斯･特瑞爾（James Turrell）、弗朗斯･懷斯特（Franz West）、奧拉維爾･艾利亞松（Olafur Eliasson）等。

is commissioning to a place like a land equips with his friends in Thailand,

因此我認為藝術委託項目很重要的一點是，它無限延伸了我

which link to local landscape and surroundings.

項目與公共空間的結合。我覺得這本書的一個主題是委託創

equips whole community projects which are all based on architecture

And another projects like The Land organized by Rirkrit in Thailand, and

the Quiet in the Land in Thailand, which was organized by France Morin from the United States, these ideas are even pushing the information in

terms of immateriality or process how commissioning work link to situa-

tion. I think they are what artists trying to do, to think about art as situa-

們對画廊那種白色立方體空间的想像，所以便成就了藝術委託作是如何與空間相結合的，或者說是某種意義上的空間，經常是與社區，但是藝術委託項目有以驚人的發展趨勢，並且是為一個特定地方而創作的當代藝術，比如在泰國的一片土地邀請上朋友，配備整個社區規劃，而這個規劃是建立在與當地景觀和環境相關聯的建築基礎之上的。

tions, and commission has very important parts of saying arts for situation.

另一個項目，泰國的勒克里特（Rirkrit）組織的《土地（The

A: You were a curator in the past, why are you doing law now?

劃的在泰國的項目《土地的寧靜（the Quiet in the Land）》，這

D: I like the field of laws and art, I find things about ownership of art very

interesting, so I did bits and parts about who owns the artwork, dealing

things about what are these artworks, is it authentic, what is the taxes about it, about attribution, in a way, going law about arts, big questions

about art, who owns the artwork, what is the artwork, what is authentic artwork, who could copy it, who has the right to copy the artwork, how

Land）》這一項目，還有美國的弗朗斯•莫林（France Morin）策些想法都是關於如何推動這些無形信息，如何將藝術與當地狀況聯繫在一起。我認為這些是藝術家想要實現的，把藝術當作一種局面，而藝術委託是這種局面很重要的一部分。 A：你原來是策展人，為什麼你現在做法律了呢？

D：我喜歡法律和藝術，我覺得藝術所有權的相關問題非常有

is the art work sold, these kinds of questions, and then cultural property

趣，所以我做了些關於誰擁有藝術作品，這些藝術品是什麼，是

think this subject is reflective to your community. They are very interest-

來說，就是藝術的相關法律，藝術的一些重要問題，誰擁有藝

questions, to arise community to stop something, to get it back if the you ing questions.

A: How’s the change from curator to lawyer?

D: It is a little strange. I think they got points in common, because loyal

classifications and definitions, I mean, in exhibitions and art history, they

否是真品，還有藝術品的稅務問題，歸屬問題，從某種程度上術作品的所有權，什麼是藝術作品，什麼是真品，誰可以複製，誰有權利複製藝術作品，藝術品如何銷售，諸如此類的問題，然後就是文化產權的問題，引起社群的阻撓，或者重拾產權等等，這些都是非常有意思的問題。

are also typologies, structures. They are very different as well. Law is of

A：從策展人的角色變成律師有什麼特別感受嗎？

using logic in a lot of ways. Whereas in the field of art, this logic, too bit

義上說，在展覽和藝術歷史中，兩者都是類型學，結構學。當然

more senses about logic, even it’s about value judgment, and it’s also reach uncertain conclusion, art is a paradox, the point that Sol LeWitt

makes in his statement when he talked about art is mystics, he talked about art become irrational, they push rationality into irrationality. In that

D：是有點奇怪，我覺得其實兩者有共通點，因為從分類和定它們也是很不同的。法律更多是邏輯，甚至是價值評判，而且法律在許多方式上運用邏輯學。而在藝術領域，這種邏輯太少了，所以導致的是不確定的結論，藝術是個悖論，索爾･萊維特

sense, law can’t do that ultimately. It places on interpretation but there

（ Sol LeWitt ）在他的聲明中提到了這個觀點，他說到藝術是

which why art is exciting. It is fun to look at art with law. It is interesting.

上說，法律最終還是不能做到這一點。法律關乎解釋，但是還

has to be rules, where rules in art game are about breaking the rules,

A: Are you familiar with contemporary art in China?

D: Yes, but I don’t know a lot about it. I have an early work of Huang Yong

神秘的，藝術不理性，藝術將理性推到了非理性。從這個意義是有規則的，而藝術的規則就是打破規則，這也是為什麼藝術令人如此激動。從法律的角度來看藝術是非常有趣的。

Ping, he was one of my favorite artists, and he did the one of the best

A：你熟悉中國的當代藝術嗎？

fucius and western philosophy together into the washing machine, and

喜歡的藝術家之一，他有件作品是我最愛的幾件作品之一，就

pieces I love, which is in Magiciens de la Terre. He put the text of Con-

took it out. This is the first Chinese contemporary art I’ve ever seen. And it was amazing. This is great work, this is genius work, and I met Huang Yong Ping in Paris long time ago. Cai Guoqiang is amazing as well. He

gave me a little drawing and it’s really beautiful. I worked with him in Taipei, Taipei Biennial in 1999, before I became a lawyer.

I am still a curator now, I curate shows. I think contemporary art now is interdisciplinary, so it’s very interesting when you come to art from disci-

D：知道，但並不多。我有一件黃永砯的早期作品，他也是我最是在《地球村的魔術師（Magiciens de la Terre）》展覽上的那件。他把孔子和西方哲學的文本一起放入洗衣機，然後再拿出來。這是我所見到的第一件中國當代藝術作品，非常不錯。這是一件偉大的作品，也是一件天才作品，我在很久以前在巴黎見過黃永砯。蔡國強也同樣了不起。他給過我一小幅繪畫，很美的繪畫。在我成為律師之前，在1999年的台北雙年展，我和他一起工作過。

pline outside of art. You find artists working in between spaces, so artists

我現在仍是一名策展人，策劃展覽等等。我覺得當代藝術是跨

art. So I curate shows about using contract to make a piece of art, and

你會發現藝術家是超越空間限制的，所以與我一起工作的藝

I work with are conceptual, but also work in the field between law and reflecting conditions of arts. This is ongoing project which I did called Of-

學科的，所以如果從藝術外的領域來到看藝術是相當有趣的。術家都是觀念藝術為主，或者結合法律和藝術來進行創作。所

fer & Exchange, we did six projects so far. And then I also do projects with

以我策劃的展覽是用合同來創作成為一件藝術作品，反映藝

this year, which is an amazing collection. We are doing this big project

（Offer & Exchange）》，我們目前已經完成了六件作品。我還

Superflex, I am organising a big one at the Jumex Collection, Mexico City about intellectual property laws and copyrights. So I get into an area I feel law and art is very interesting.

I think conceptual art very links to law somehow. Conceptual art also plays with laws, documents, or the contracts, and certificates, so it is

術的狀態。這是一個還在進行中的項目，我稱它為《提供&交換與Superflex合作項目，今年我正在為墨西哥城的珠邁克斯收藏（Jumex Collection）組織一個大項目，主要關於知識產權法和版權。所以我覺得現在做的事情能發掘更多藝術和法律的趣味。我覺得觀念藝術在某種程度上與法律是相連的。

very legal aesthetic. So for me it’s very interesting, I love conceptual art,

觀念藝術也同樣與法律、文件、或者合同，亦或證書相聯繫，

ing with logic, playing statics with laws, and then also legal moment in

藝術和法律有很大的聯繫，很有趣。和邏輯玩遊戲，還有與

there is a big connection between conceptual art and law I think. Playart. Because certificates, all these things are the rules which has values,

as meaning, so that artist starts to use these elements as the work, so the certificate becomes a work, or the contract becomes the work, or co-links to the work.

所以它有種法律式的美感。因此我愛觀念藝術，我覺得概念藝術中的法律時刻遊戲。因為證書等等都有了藝術價值和意義，也就是說，藝術家將這些元素變成一件作品，證書就成了作品，或者合同成了作品，或者與藝術作品連在一起而成為一件作品。

POP ART

波普藝術 TEXT BY 撰文 MO MING 莫名

TRANSLATED BY 翻譯 SYNDI 黃煥欣

Eduardo Paolozzi. I was a Rich Man’s Plaything, 1947.

Pop Art is an art movement that emerged in the mid-1950s in Brit-

波普藝術是指在20世紀50年代中期在英國及50年代

challenge to traditions of fine art by including imagery from pop-

統美術的概念提出了挑戰，它將流行文化中的形象和

ain and in the late 1950s in the United States. Pop Art presented a ular culture such as advertising, news, etc. In Pop Art, material is

sometimes visually removed from its known context, isolated, and or combined with unrelated material. The concept of Pop Art refers not as much to the art itself as to the attitudes that let to it.

末期在美國興起的一波藝術運動。波普藝術運動對傳符號從既定的已知文本背景中抽離，通過孤立或者與無關的材料相拼合來形成藝術家所表達的新的意向。在波普藝術的觀念中，藝術觀念與藝術態度的導向要遠遠比藝術本身更為重要。

Pop Art employs aspects of mass culture, such as advertising, comic

波普藝術廣泛的採用大眾和世俗文化中的元素，包括廣告、漫畫

tion to the then-dominant ideas of abstract expressionism, as well as

抽象表現主義藝術觀念的一個回應和擴展。而在形式上波普藝

books and mundane cultural objects. It is widely interpreted as a reacan expansion upon them. And due to its utilization of found objects and images it is similar to Dada. Pop Art is aimed to employ images of

popular culture as opposed to elitist culture in art, emphasizing the banal or kitschy elements of any given culture, most often through

the use of irony. Much of Pop Art is considered incongruent, as the conceptual practices that are often used make it difficult for some to

readily comprehend. Pop art and minimalism are considered to be art

和日常物品，同時它也被廣泛的認為是對當時的佔主導地位的術對圖像和物品的運用方式又很接近於達達主義。波普藝術採用流行和大眾文化中的圖像為的是反對藝術中的精英文化，用諷刺的手段來突出大眾文化元素的平庸和媚俗。對波普藝術概念和作品的解讀往往是多樣性的，而且這種觀念上的實踐往往會導致其不容易被理解。波普藝術和極簡主義被認為是後現代藝術之前的藝術運動，或者是一些後現代藝術最早的案例。

movements that precede postmodern art, or are some of the earliest

波普藝術運動在上個世紀60年代的興起造就了一批知名藝

The rise of the Pop Art movement in the 1960s brings up a group of

（Roy Lichtenstein）等。從藝術理念的發展階段來看，波普藝術

Hockney, Roy Lichtenstein. From the development of the art concept,

化”傾向，對傳統學院派和現代藝術提出了質疑和否定，也是“後

examples of Post-modern Art themselves.

well-known artists, such as Andy Warhol, Richard Hamilton, David

術家，如安迪·沃霍爾（Andy

Warhol）、理察·漢密爾頓（Richard

Hamilton）、大衛·霍克尼（David

Hockney）和羅依·李奇登斯坦

運動的精神內涵是反抗當時既定的文化權威以及藝術的“精英

the spiritual essence of the Pop Art movement is against the established cultural authority and the “elite” art trend at that time, and to

question and negate the traditional academic and modern art. It is

also when the “post modern” cultural concept is initially formed. Up till

now, the exploration of “post-modern” cultural and sociological con-

David Hockney. Pearblossom Highway, 1986.

cepts can be found evidence from the Pop Art movement. And Pop

Andy Warhol. Soup Can, Vegetarian Vegetable, 1964.

Art remains affecting our lives. A lot of fashion designers and graphic designers today directly or indirectly draw inspirations from Pop Art.

ORIGIN OF “POP”

“Pop” is the simplified spoken word of “lollypop” (lolly means tongue,

pop is smear) which can be traced back to the 18th century, a word (here pop sound of bottle opener may be referred to) which also

means the kind of Coca-Cola soft drinks (soda pop). From the word

“Pop”, we can find the conversion of light-hearted pleasure and craving desire (such as the sexual innuendo of lollypop).

A Brief History of Pop Art

The Independent Group (IG), founded in London in 1952, is regarded

as the precursor to the pop art movement. They were a gathering of young painters, sculptors, architects, writers and critics who were

challenging prevailing modernist approaches to culture as well as tra-

ditional views of Fine Art. The group discussions centered on popular culture implications from such elements as mass advertising, movies, product design, comic strips, science fiction and technology.

At the first Independent Group meeting in 1952, co-founding member, artist and sculptor Eduardo Paolozzi presented a lecture using a series of collages titled Bunk! One of the images in that presentation

was Paolozzi’s 1947 collage, I was a Rich Man’s Plaything, which in-

cludes the first use of the word “pop″, appearing in a cloud of smoke

現代”文化概念的初步形成，時至今日對“後現代”文化和社會學概念的探討中都可以從波普藝術運動中找到佐證，而且波普藝術的影響力也持續影響著我們的生活，當下很多服裝設計師和平面設計師都在直接或者間接的從波普藝術中獲得創作靈感。

“波普 ” 一詞的由來

“波普”（pop）是“棒棒糖”（lollypop，lolly是舌頭，pop是塗抹）的一個簡化口語詞，可追溯至十八世紀，也表示可口可樂之類的「汽水」（soda pop）一詞（這裡的pop可能是指瓶子開啟的聲音）。從“Pop”這個詞中，我們都可以看到輕鬆愉快的享樂和渴求慾念的轉化（例如棒棒糖的性暗示）。

波普藝術簡史

“波普藝術”這個術語最早在1950年代中後期出現，1952年在倫敦成立的“獨立小組”（The Independent Group）被視為波普藝術運動的先驅，這是一群年輕的畫家，雕塑家，建築師，作家和批評家組成的團體，他們挑戰當時現代主義的藝術方法論，質疑 Richard Hamilton. Just what is it that makes today’s homes so different, so appealing? 1956.

當時的藝術觀點和理念。這個小組討論的重點是大眾廣告，電影，設計產品，動漫，科技和科幻元素對流行文化的影響。在獨立小組1952年第一次會議中，共同創始人、藝術家和雕塑家愛德華多·保羅齊（Eduardo Paolozzi）在講座中使用了一系列的雙

Richard Hamilton. Swingeing London 67 (f ). 1968-9.

emerging from a revolver. Following Paolozzi’s seminal presentation

層拼貼作品，其中《我是有錢人的玩物（I was a Rich Man’s Play-

culture, particularly mass advertising.

的煙霧上，後面畫著一個驚嘆號，這裡的“波普”是模仿子彈發射

in 1952, the IG focused primarily on the imagery of American popular

John McHale made subsequent coinage of the complete term “pop

art” for the ensuing movement in 1954. IG members in the Second

thing）》，首次使用了“波普（POP）”一詞，寫在一隻左輪手槍噴出的象聲詞。從此，獨立小組開始著重關注於美國流行文化，特別是大眾化的海量廣告。

Session of the IG then used “Pop art” as a moniker in discussions in

在1954年，約翰·麥克海爾（John McHale）為隨後開展的藝術運

in an article by IG members Alison and Peter Smithson in Arc, 1956.

討論之後成為了成員共同認可的名字，獨立小組成員艾莉森和

1955, and the specific term “Pop Art” first appeared in published print

However, the term is often credited to British art critic and curator,

Lawrence Alloway in a 1958 essay titled The Arts and the Mass Media, although the term he uses is “popular mass culture”. Nevertheless, Al-

loway was one of the leading critics to defend the inclusion of the imagery found in mass culture in fine arts.

Although Pop Art began in the late 1950s, Pop Art in America was

given its greatest impetus during the 1960s. The term “Pop Art” was

動創造了“波普藝術”這個新名詞。“波普藝術”在1955年獨立小組彼得·史密森（Alison and Peter Smithson）在1956年第一次使用“波普藝術”作為專有名詞發表了文章。不過，藝術批評家兼策展人勞倫斯·阿羅維（Lawrence Alloway）往往被視作“波普藝術” 這一術語的發明人，但他其實並沒有用這一術語指稱某一運動。在其1958年的論著《藝術與大眾媒體（The Arts and the Mass Media）》中，他沒有直接論及藝術（fine arts），而是論證了大眾流行藝術的合法性，由此為這一新興藝術開闢了道路。

officially introduced in December 1962; the Museum of Modern Art

雖然波普藝術在美國的開端是在1950年代末，但是在隨後的60

ing had adopted many elements and inflections of modern art and

12月，現代藝術博物館舉辦了“波普藝術研討會”正式提出了“波

organized a “Symposium on Pop Art ”. By this time, American advertisfunctioned at a very sophisticated level. Consequently, American artists had to search deeper for dramatic styles that would distance art

from the well-designed and clever commercial materials. As the Brit-

ish viewed American popular culture imagery from a distance, their views were often instilled with romantic, sentimental and humorous

overtones. By contrast, American artists being bombarded daily with the diversity of mass-produced imagery, produced work that was generally more bold and aggressive.

年代，美國波普藝術引領了整個波普藝術運動的風潮。1962年普藝術”這樣一個術語。在當時，美國廣告產業已經非常發達，已經開始採用很多現代藝術的元素和語言，因此，美國的藝術家們不得不尋找和探索更深刻的戲劇性的藝術風格來區別於那些精心設計的精巧的商業產品。由於從英國觀看的美國流行文化意象會有些隔岸觀火，他們的意見往往被灌輸予浪漫、感傷和幽默的色彩。相比之下，美國的藝術家天天被各種大批量生產的圖像和符號所轟炸，他們的身臨其境普遍導致了創作上的更為大膽和進取。

MAN RAY 曼·雷 TEXT BY 撰文 MO MING 莫名

TRANSLATED BY 翻譯 SYNDI 黃煥欣

IMAGES COURTESY OF 圖片提供

NATIONAL PORTRAIT GALLERY 英國國家肖像畫廊

Rather than shooting an object, it is better to shoot an idea; Instead of shooting an idea, it is better to shoot a dream. -- Man Ray

與其拍攝一個東西，不如拍攝一個意念；與其拍攝

一個意念，不如拍攝一個幻夢。

—— 曼·雷

Lagrimas, 1930.

Man Ray Self-Portrait

with Camera, 1932 by Man Ray

The Jewish Museum, New York, Purchase: Photography Acquisitions

Committee Fund,

Horace W. Goldsmith

Fund, and Judith and

Jack Stern Gift, 200416. Photo by Richard Goodbody, Inc

/ Artists Rights Society (ARS), NY / ADAGP,

Man Ray (born Emmanuel Radnitzky, 1890-1976) is an American modernist artist

曼·雷（原名伊曼紐爾·拉德尼茨基，1890-1976）是一位美國現代

to the Dada and Surrealist movements, although his ties to each were informal. He

主義運動和超現實主義運動作出了巨大的貢獻，儘管他並沒有

who spent most of his career in Paris, France. He has been a significant contributor produced major works in a variety of media but considered himself as a painter above all. Man Ray is best known in the art world for his avant-garde photography,

and he is a renowned fashion and portrait photographer. Ray is also noted for his work with photograms, which he called “rayographs” in reference to himself.

主義藝術家，在法國巴黎度過了自己大部分職業生涯。他為達達正式地參與這兩次運動。他的作品多見於各種類型的媒體中，但他自認為是一位畫家。曼·雷因他的先鋒派攝影而為人所知，他同時也是一位有聲望的時裝攝影師和肖像攝影師。曼雷也因他對 “物影照片（rayograph/photogram）”的發展做出的貢獻而著名。

Tips

小貼示

展覽：Man Ray：Portraits 時間：20 Feb－26 May 2013 地點：National Portrait Gallery Barbette, 1926 by Man Ray

The J. Paul Getty

Solarised Portrait of

Lee Miller, c.1929 by Man Ray

ADAGP, Paris and

DACS, London 2012,

courtesy The Penrose Collection. Image

courtesy the Lee Miller Archives

Le Violon d’Ingres, 1924 by Man Ray Museum Ludwig Cologne,

Man Ray is the first artist in the history whose photography works have attained far more value than other art types that he was capable of.

And he is also the world’s first art explorer that extensively used special techniques for photography creation. Many of the photographic

techniques still popular and widely applied today are founded by Man

Ray. Having greatly expanded the photographic art field and opened up an unprecedented new world, Man Ray is therefore deemed as

one of the most significant pioneers in the history of contemporary photography.

Man Ray, who has been involved in the Dada and Surrealist art activities, is a restless photographic technique experimenter as well as

a photographic artist. He experimented without camera with some objects placed directly between the light source and light-sensitive

曼·雷是有史以來第一個攝影作品價值遠遠超越其他所擅長的藝術形式的藝術家，他也是世界上最早廣泛運用攝影的特殊技法來進行攝影創作的藝術探索者，許多今天仍然流傳不衰的攝影技法就是由他始創的。他大大擴展了攝影藝術的領域，開闢了一片前所未有的新天地，因而被認為是當代攝影史上最重要的先驅之一。

materials as to create a photo from the outline and shadow transmis-

曼·雷是一位曾參與達達派和超現實主義派藝術活動的、不知疲

graph” or “photogram”. Darkroom processing and multiple exposure

將某些物體直接置於光源和感光材料之間，通過輪廓、陰影的透

sion. This kind of photo without negative is known later on as “rayowere also employed to merge disorderly together unrelated images

倦的攝影技術試驗家和攝影藝術家。他曾嘗試不用照相機，而是射製作成照片。後人將這種不用底片的“照片”稱為“曼·雷式照片

that were deformed, omitted, anti-logic or hyper-normal to create the

（rayograph）”或“物影照片（photogram）”。他還曾利用暗房加

an absurd and mysterious realm of art. The images have been filled

邏輯、超常態地錯亂組合在一起，創造一種現實與夢幻、具象與

peculiarity between reality and fantasy, figurative and abstract, and

with certain symbolic and suggestive meanings to make the contents of the works shine but not defined.

工、多次曝光等特技將一些互不關聯的影像或變形、或省略，反抽象之間的奇特，荒誕而又神秘的“藝術境界”。畫面充滿著某種象徵性和暗示性，使作品內涵閃爍而不確定。

Henry Crowder, 1928 by

Helen Tamiris, 1929 by

Collection du Centre

Man Ray

Pompidou, Mnam/Cci,

Paris, AM 1994-394 (463)

image Centre Pompidou, MNAM-CCI

Pompidou, Mnam/Cci, Paris, AM 1994-394 (3200)

Pompidou,MNAM-CCI,Di st. RMN/Guy Carrard

The subjects Man Ray took photography of include Pablo Picasso

wearing matador costume, Tristan Tzara with a monocle, drunken Sinclaire Lewis, Marcel Duchamp as a drag queen, Francis Picabia sitting

in the car holding the steering wheel, James Joyce hand covering his

Kiki de Montparnasse, 1926.

eyes away from the light. There are also photographs of Henri Matisse, Georges Braque, Constantin Brancusi, etc.

PHOTOGRAPHIC WORK

曼·雷拍過穿鬥牛士服裝的畢加索（Pablo

Picasso）、戴單片眼

鏡的特里斯丹·匝拉（Tristan Tzara）、醉態畢露的辛克萊·劉易士

Photography is born to be a surreal art form. However, the works of

（Sinclaire Lewis）、男扮女裝的杜尚（Marcel Duchamp）、坐在

scale balance point liberating the surreal and preserving the everyday

的喬伊斯（James Joyce），還有馬蒂斯（Henri Matisse）、勃拉克

Man Ray project a unique point of view, that is, photography lies in the

existence. It is a two-dimensional space scale where the left and right ends possess a strong contrast. To take Kiki in Le Violon d’Ingres, one

汽車方向盤後的畢卡比亞（Francis

Picabia）、用手遮眼睛擋光

（Georges Braque）、布朗庫西（Constantin Brancusi）等等。

of Man Ray’s most famous photographs as an example, the woman

攝影作品

f-shaped sound holes of a stringed music instrument, seems to sug-

的觀點，那就是攝影處在一個解放超現實和保存日常所見的天

Kiki in a turban and a piece of cloth, with her back marked with the

gest the fiddler’s dream has come true. Thus the surreal transformation is earmarked for completion. The uniqueness of Man Ray in the history of photography is not only because of the prominent labels

on him, but also of the prominent fact that when he was regarded

as a master photographer, he felt embarrassed by the excessive enthusiasm. Man Ray paid more attention to his own art achievements,

and often mentioned photography in an irrespectful way, saying “I do not particularly consider myself as a photographer, because for me

攝影天生就屬於超現實的藝術，但曼·雷的作品提供了一個特殊秤支點，而這是個二維空間的天秤，左右有著強有力的對比。以琦琦（Kiki）,《Le Violon d’Ingres》這張他最有名的照片之一為例，照片中女人背部複製了的樂器音箱縫細的記號，頭巾與布幔，似乎提琴手的夢想已經勾勒成真，於此超現實主義的轉化於焉完成。曼·雷在攝影史上的特別，並不僅僅因為他身上的一些顯赫標籤，他最突出的地方在於當他被視作一個攝影大師時，他卻為這種過分的熱情感到尷尬。曼·雷更注重自己的藝術成就,他常常說出一些對攝影並不恭敬的話，“我自己並不特別地認為自

to be a photographer is merely a means rather than an aim. It is like I

己是攝影師。因為對我來說,攝影術只是用於表現的手段而已，

to become a driver.”

一個駕駛員。”

often drive because I love having a ride, but it does not mean I want

它不是目的。我因為喜歡兜風而經常開車，但我自己並不想成為

BBC The Queen’s Jubilee Concert

THE ARNOLFINI WEDDING PORTRAIT 阿諾芬尼的婚禮

TEXT BY 撰文 LAN CHEN 蘭沉

TRANSLATED BY 翻譯 SYNDI HUANG 黃煥欣

楊 . 凡 . 艾克

阿諾芬尼的婚禮

(Arnolfini-Hochzeit)

油彩木板, 84.5cm×62.5cm 1434年, 倫敦國家美術館

(London, National Gallery)

The Arnolfini Wedding Portrait by Jan Van Eyck is appointed by Gio-

《阿諾芬尼的婚禮 (The Arnolfini Wedding

marriage vows in a Flemish bedchamber. On the painting, Van Eyck

婚禮一幕──新婚夫妻在臥房中舉行的婚盟儀

vanni Arnolfini to depict the scene he and his betrothed take the signed “Jan Van Eyck 1434”. The Arnolfini Wedding Portrait thus be-

comes a secular painting of historical record. It witnesses the mar-

riage customs in the first half of the 15th century in Netherlands, and simultaneously applies the portrait purpose. This painting is the first

in the history since the Middle Age to depict the background of mid-

Portrait）》是楊·凡·艾克受阿諾芬尼之託所畫的式，他並在畫上簽署“楊·凡·艾克，1434”的字樣。這幅《阿諾芬尼的婚禮》就此成為一幅記錄史實的世俗畫，它也見證了15世紀上半葉尼德蘭的結婚習俗，同時也發揮了肖像畫的功能。像這樣以婚禮為主題，描繪中產階級居家背景的畫作，

dle-class domestic living with this sort of marriage theme. It not only

自中世紀以來堪稱首舉。這不僅揭示了新時代

the rise of humanism; since then, even the middle class are able to

這時候起，即使是中產階級的人，也能實現個人

unveils the beginning of a new era and new belief, but also reflects achieve personal aspirations, having the power to enjoy ideal lives.

和新觀念的開始，也反映出人文主義的抬頭；從願望，擁有享受理想生活的權力。

楊 . 凡 . 艾克

阿諾芬尼肖像(Portrait of Giovanni Arnolfini) 油畫, 29cm×20cm,

1435年左右, 柏林國立博物館 (Berlin,

Staatliche Museen,GemaeldegalerieDahlem)

In view of the painting’s composition, from the posture of the newly-

weds to the indoor displays, every object portrayed conveys a fulfilling matrimony. In the painting, Arnolfini the man of the house has exactly

the same look as in another portrait of him by Van Eyck, thus Van Eyck is found having applied the technique loyal to the realism of character

looks. The painting hence is viewed as a double portrait. However, the figure of the character illustrated is slender with streamlining depiction.

In this regard, the painter was idealizing the character’s body on which his luxurious garments can be fully presented. The slender proportion

of the figure and the coherence of the upper and lower parts of garment lines are characteristics of Gothic art.

In addiction, characters of three dimension and distance between characters and space are specifically illustrated. The mirror reflects the depth

of field, a means of painting within a painting is employed to contain

more messages into the painting. This novel illustrating method is not coming out of the tradition of painting in the Middle Age, but from

the painter’s personal observation and creativity. Ever since oil paint becomes the dominant medium for painting because of its pigment

transparent light performance conductive to depict reflective objects,

mirrors, glasses and metal products are widely embraced by painters

to put into paintings so as to bring up the theme, to vividly strengthen the painting, and also pass the symbolic meaning through the way of

reflection. This artwork piece of Arnolfini Wedding Portrait is assisted

在此構圖裡，從新婚夫妻的動作到室內所有的擺設物品，一切的

wall reflecting the indoor scene records the critical moment of the wed-

與其另一幅肖像畫面貌完全一樣的情形，可以知道楊·凡·艾克在

through the mirror to portray its composition. The mirror back on the

ding ceremony in the means of picture-in-picture presentation. The mirror reflects the two newlyweds and two other witnesses in the wed-

ding scene, as well as the bedchamber door that fails to be depicted in front of the couple. The image out of the convex mirror is distorted,

especially the part by the edge of the mirror. The shape is intensively

bended along the rounded curve. The tone of the reflection is relatively

事物都附帶著象徵婚姻美滿的意義。從此畫中男主人阿諾芬尼描繪《阿諾芬尼的婚禮》時，是以忠於人物長相的寫實手法表現的，這幅畫因而也常被當成雙人肖像畫看待。但是人物的身材仍呈現修長而簡化的體型，在這方面畫家理想化了人物的身體，並充分表現人物華貴的衣服。比例修長、上下身衣褶線條相連貫的人物造形，乃哥德式藝術的特徵。

darker compared with the actual colour of the characters and furniture.

此外，他具體地畫出人物的立體感以及人物與空間的距離，並利

ing light. Considering the ongoing scene in the painting as well as the

構圖皆非來自中世紀的繪畫傳統，而是畫家個人的觀察和創意。

In this case, the characters and furnitures are outlined by the surround-

用鏡子反照出景深，以畫中畫的方式攬進更多內容，這些新穎的

space and mirror reflection, we are able to reconstruct the entire wed-

自從油畫顏料成為繪畫的主要媒材後，由於顏料透明光亮的性

with the Passion of Jesus Christ and resurrection, and the rosary next to

進構圖裡，以陪襯主題、加強畫面熠熠生輝的效果，並且還藉由

ding scene alive. This piece of secular painting with the frame decorated the hanging mirror, reveals the meaning of the religious space. The mirror painted with the image of Jesus Christ implies the presence of Jesus,

while the rosary is served as a symbol of the Virgin Mary’s intercession. The secular marriage is thus transformed into a religious sacred scene.

能有利於描繪反光的物體，鏡子、玻璃和金屬製品紛紛被畫家攬反光的作用傳遞象徵的意涵。此幅《阿諾芬尼的婚禮》便是以鏡子來輔助構圖內容，利用背景牆上的鏡子反照室內的景象，以畫中畫的方式記錄下婚禮進行中關鍵性的一刻。鏡中影反照出兩位新人和參與婚禮的另外兩個人，還有未能攬入構圖的臥房入

局部–凸面鏡

鏡框部份畫出基督生涯故事的十個

場景,鏡中反映出室內場景, 包括婚禮公証人與凡 . 艾克自身的自畫像

畫中所畫的小狗,為忠誠的象徵

局部–吊燈

口處。凸鏡中反照出來的物象，因凸起的鏡面而變形，尤其是靠凸鏡周邊的部分，東西的形狀順著圓形的弧度強烈彎曲，而且鏡中反影的彩度也較實際人物和家具暗沉，在這種情況下，受光的輪廓略微呈現人物和家具的形體。綜合畫中的片段室內空間與局部–阿諾芬尼面部像

鏡中的反影，我們便能重組起婚禮現場的整個實況。這幅世俗畫由鏡框上的基督受難與復活之圖飾，以及吊掛鏡旁的念珠，透露出宗教性的空間意涵。繪飾著基督圖像的鏡子暗示著基督的臨在，玫瑰念珠則象徵聖母的的代禱，如此一來便將世俗的婚姻場所，轉化成宗教性的神聖地方。這幅表面為居家場景的構圖，其實暗藏著深奧的內容，新郎舉起

The painting looks like on its surface only composing an ordinary

了右手，表示一種儀式，象徵矢志愛情；新娘則伸出右手，放在新

the scene. The groom raising his right hand indicates a ritual, a sym-

都與婚姻美滿的象徵意義有關。前景的小狗與牆上的鏡子象徵

domestic scene, but in fact the esoteric meaning is hidden behind bol of committed love, while the bride putting out her right hand on

the groom’s left hand, is swearing to be the husband forever faithful

companion. Everything in the bedchamber is related with a fulfilling matrimony symbolism. The front puppy and the mirror on the wall

symbolize fidelity and pureness, whilst the windowsill and oranges on the chest indicate virginity of the bride. It is symbolized the purity

of the bride by the single candle burning in the left rear holder of the ornate chandelier. The two pairs of clogs lying in the floor suggest the couple are standing barefoot while making a solemn commitment to

each other, which allude to the belief that the bedchamber is a holy

place for tying the knot. The men’s clogs being placed in the front near the door means the man conducts business outside of the home,

and on the other hand, the women’s clogs being set in the back of the bedroom refers the woman stays at home to look after the family and

household. Then the bedside carving is related to a symbolic blessing with women’s child bearing.

郎的左手上，宣誓要永遠做丈夫的忠實伴侶。臥室內的每樣東西忠實與純潔，窗台和矮櫃上的橙橘象徵新娘的貞潔。天花板上懸吊的吊燈點燃一支蠟燭，喻指新娘的純潔。地面上兩雙木屐，顯示著這對新人正赤腳站著發誓，暗指臥室乃婚姻的聖潔之地；男士的木屐放在前面靠近門口的地方，代表男主外；女士那雙紅木屐置於臥室深處，象徵女主內。還有床邊的雕飾，則為與婦女生育平安相關的符號。