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ARCHITECTURE THROUGH THE LENS OF ART 建築的藝術再審視
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ARCHITECTURALNESS IN CONTEMPORARY ART
Shared Concerns and Borrowed Means 再當代藝術中看到建築： 共通議題和借用媒介
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FEATURE
FEATURE 專輯
ARCHITECTURE THROUGH THE LENS OF ART 建築的 藝術再審視 Feature curator and editor 籌劃 | Human Wu
Louise Bourgeois, Cell (Eyes and Mirrors), 1989-93
Model of the house in Jacques Tat's 1958 film "Mon Oncle"
It has been widely discussed for decades how architects draw inspirations from art. We see close relationship between Le Cobusier and Cubism, Mies and Mondrian, Herzog & de Meuron and minimalism... What about the other way around? Increasingly, we see contemporary artists operate in the space of architecture, presenting different degrees of architectural quality in their artworks. It would be interesting to investigate the place of architecture in artistic practices, and see how artists consciously or unconsciously address issues that are core to the architectural discourse.
建築設計與藝術創作一直以來都息息相關。過去幾十年對於建築師如何在藝術中獲得靈感以及建築作品中的藝術性有廣泛
The feature is organized along two parallel lines of thought:
6篇文章的組織構想主要有兩條線索：
1. Architecture in different art forms: visual arts (painting, sculpture, photography, film…); performing arts (theatre, dance, and the stage); music (John Cage, Morton Feldman…); literature.
1. 建築在不同藝術類型中的表現：視覺藝術（繪畫、雕塑、攝影、電影）、
2. Different ways of architectural association in art:
2. 建築在藝術中表現的形式：
a) Architecture as direct subject matter: for example Los Carpinteros, Tadashi Kawamata, “Architecture Costume” series of Gongbi figure painting by Wilson Shieh, and typically in photography (Düsseldorf School) and film (Hitchcock, Tati).
a）建築直接作為藝術表現的對象。
b) Architectural elements as vehicle of artistic expression: Louise Bourgeois’ cages and rooms, Mona Hatoum’s walls and furniture… c) Interaction / intervention: site-specific installations by Gordon Marta-Clark, Olafur Eliasson…
的討論：柯比意與立體主義、密斯與蒙德利安，Herzog & de Meuron與極簡主義⋯⋯如果我們換一個方向想，建築在藝術 中又以何種方式呈現？在當代藝術中，藝術家常常涉及建築的範疇，在作品中表現出不同程度的建築性。本期專題便是要 探討建築在藝術中的位置，發掘藝術家們如何在有意無意中詮釋與建築密切相關的各種核心議題。
表演藝術（戲劇、舞蹈等舞台藝術）、音樂、文學……
b）建築作為藝術作品主旨表達的載體。 c）藝術與建築的互動或介入，如各種場域特定的裝置。
d) Shared concerns between art and architecture: site, space/time, tectonics, materials, body movements…
d）藝術探討與建築共通的議題：場域、時空、建構、材料、人……
e) Artist designing buildings: Ai Weiwei’s own studio, Olafur Eliasson’s Fjordenhus, etc.
e）藝術家直接設計建築。
This feature does not aim to be comprehensive or conclusive. Its intention is to start the conversation and exhibit a wide spectrum of encounters and connections between art and architecture. Artists’ take on architecture could offer architects refreshing views on their own profession. It challenges the perception and definition of architecture, and in turn, opens up new possibilities for the future.
這些類別並非要劃分藝術類型和表現形式的界線，本次專題也並非以全面總結為目的。主要的意圖是要涵蓋建築與藝術互 相關聯和撞擊的廣泛與多樣，引發更深層次的討論。藝術家們對建築的再審視挑戰傳統的建築定義和印象，為建築師提供 一個新的角度， 開啟未來更多的可能性。
Kingsley Ng:
Site-specific Art Practice 伍韶勁： 場域特定的藝術創作 Interview 採訪 | Human Wu Edit 整理 | Human Wu Translation 翻譯 | Bernard Yeung
Kingsley Ng is a multifaceted artist. Crossing many different artistic disciplines and media, his works challenge traditional boundaries with public participation and process-driven approaches. This interview focuses on his site-specific works, examining how art responses to site, architectural space, urban conditions and community. 伍韶勁（Kingsley Ng）是一位多才多藝的藝術家。他的 作品涉及多種藝術界別和媒體類型，用觀眾參與、基於 過程的創作挑戰傳統的界線劃分。這次採訪主要抽取其 場域特定（site-specific）作品，探討藝術對場域、建築 空間、城市以及社區的理解和回應。
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Human Wu (HW): Many of your works are site-specific. For example After the Deluge and Secret Garden, they are both direct responses to their surroundings. Kingsley Ng (KN): Tracing all the way back to the early work Musical Loom at Le Fresnoy, the search for connections has always been my constant pursuit in art. In the case of both After the Deluge and Secret Garden, the site came first. Then by decoding the sites, corresponding works were refined. When it comes to the discussion of site, many people quote the theory of genius loci by Christian Norberg-Schulz. This is a more Western and academic narrative. I do not think the issue of site only occurs in recent discourse. Looking back at ancient cave paintings, Stonehenge, Sistine Chapel, folk art of the East and the West, Feng Shui… they all relate to site. For the examples of works, it would be common to mention Land Art from the 60s, or some social critique works such as Condensation Cube by Hans Haacke. In recent years, artists have tried new approaches of collaborating with the government and the public for public art projects. For example, Agnes Denes planted a wheat field in Manhattan, and 11,000 trees in Ylöjärvi, Finland. Some initiatives proposed swimming pools in polluted rivers, using filtration systems to purify the water. Site-specific works have developed from purely social critique in the 60s and 70s to more of a social imagination today. Similar to the ideas of speculative design and design fiction, this kind of social imagination might not resolve real social problems, but it could trigger certain changes in thinking and communication. HW: After the Deluge was made in Tai Hang Tung Stormwater Storage Tank. Secret Garden was a former barrack in Cassels Block. Can you tell us how you got your inspirations from the architectural spaces where your works were situated? KN: Tai Hang Tung Stormwater Tank is very monumental in itself. We did not feel anything more needed to happen. Therefore the final work was very subtle. There were a few fabric ribbons, one light, and only one speaker, making use of the ten-second reverberation time the tank offered. Various interventions were there to facilitate connections, mediating the quality and atmosphere of the space and visitor experiences. For example, the music by Angus Lee was only there to correspond to the surrounding conditions. Many soundtracks were sampled on site, and played at a very low volume. Everything refers back to the site. There were elements of adventure in both After the Deluge and Secret Garden. We tried to give a certain degree of guidance with narrative while avoiding being too literal. Viewers would be guided into a certain state but not too much. They could still have their own input and interpretation. The medium of sound was very important to me, because it could resonate with the most precious moment in every participant’s mind and connect with the fading memories. After the Deluge might be too abstract for viewers who were not so familiar with contemporary art. But we still hope that they could pick up some clues from the site, and formulate the connection between the city and themselves. There are different models of art outreach; and we wanted to try the balance between being open and control. HW: Twenty five Minutes Older also had a narrative. It superimposed the interior space of a tram and the exterior space of the city. There have been different versions in Hong Kong, Milan and Echigo-Tsumari. Did the different cities and natural environment give you difference inspirations? KN: The versions in these three places were very different. In Hong Kong there were two very different versions even though both featured Intersection by Mr. Liu Yi-Chang. The first version concerned more the relationship between the tram route and the text. All places like Causeway Bay, Wan Chai, Central, Sheung Wan had their own corresponding texts. The second version at Art Basel concerned more the
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parallel narratives of Chun Yu-Bai and Ah Xing in Intersection. When viewers sat on one side, they would only hear the story of one character. Watching the other side, one needed to imagine the other side of the story. This is also a metaphor of “camera obscura”: the upright and the upside-down converge at the pinhole. The third time in Milan was an attempt to respond to Calvino’s Invisible Cities in which one city was described as the upturned state of another. “Arriving at each new city, the traveller finds again a past of his that he did not know he had.” Being in Milan, looking at the image of Milan while listening to a story in Hong Kong was an experience of displacement and mismatch. Echigo-Tsumari Art Field was a completely different story. The focus this time was the “camera obscura” moving image metaphor: when you wish to capture or contemplate on the image of the moment, the moment disappears forever. In places like Echigo, it was quite evident that some things seem to be eternal, while others ephemeral. Gorgeous landscape had preserved many things that have disappeared in cities: nature, seasons… All the sceneries outside the bus were parallel preservation and disappearance.
Human Wu (HW)：你的很多作品都是場域特定的類型，
HW: The works we just talked about involved multiple media. I presume this creative approach is related to your training at Le Fresnoy. We architects tend to think architectural spaces would have an impact on people. Did the architecture of Bernard Tschumi have any influence on you?
了一片麥田和芬蘭于勒耶爾維種11,000棵樹，近期很多
KN: I have to say there is. For example, Tschumi talks about the relationship between events and architecture, extracting film stills from cinematic montage, the fluidity of people movement on the roof level, etc. He shares the same concept with Alain Fleischer, the founding director of Le Fresnoy. They complement each other well. Although it was very conceptual to me at the time, influences built up subconsciously. The northern French town where Le Fresnoy is located was once a key industrial town. Later, it shifted gradually into its post-industrial era. Lille was the European Capital of Culture when I went there in 2004. The government launched new urban planning and various cultural projects to present urban history and project future visions. However, Le Fresnoy’s position was to align with first-class national and international institutions. Not much attention was paid on local community. I was thus inspired to go out and create site-related works, such as La Ville dans la Baguette, la baguette dans la ville, Le Passage De Nozomi, and Musical Loom.
近年設計界流行的speculative design 和 design fiction
比如《大禹之後》和《秘密花園》，都直接與作品所處 的環境發生關連。 Kingsley Ng (KN)：從早期在Le Fresnoy做紡織機到近 期的創作，尋找和聯繫各種關連是始終貫穿的思路。 《大禹之後》和《秘密花園》都是先有了場域，再拆解 場域，提煉一個回應的作品。關於場域這個議題，很多 人都喜歡引用Christian Norberg-Schulz「場所精神」 的闡述。我覺得場域問題並不單是近代論述，回頭看遠 古洞窟壁畫、巨石陣、西斯汀小堂、東西方民間藝術的 演繹、風水等等，都與場域息息相關。談論作品的話一 般都會提到60年代的大地藝術（Land Art），或者一些 社會制度批評的類別，比如Hans
Haacke的作品「冷凝
立方體（Condensation Cube）」等等，都是很好的討 論基礎。近年藝術家嘗試提出創新的方案，與政府和市 民合作做一些公眾項目，比如Agnes Denes在曼哈頓做 地方如紐約、巴黎、丹麥都有一些藝術或建築項目在污 染嚴重的河裏把河水過濾淨化後設置游泳池。與場域有 關的作品從六七十年代開始的純粹批判性的社會評論到 今天在批判的同時也有一種關於社會的虛擬構想。如同 論 ，這種社會構想未必可以解決問題，但卻會激發出某 種的思考及互動的變化。 HW：《大禹之後》做在大坑東蓄洪池內，《秘密花園》 位於前身是軍營的卡素樓。可以具體講講你是如何從作品 所在的建築空間本身獲得靈感？
HW: Finally, I want to talk about social responsibility, which has become an important topic in both art and architecture today. From La Ville dans la Baguette, la baguette dans la ville in Le Fresnoy, Wind Chimes in Echigo to the two versions of To the Moon in Hong Kong, many of your works involved community participation. What do you think art could contribute to community?
KN：大坑東蓄洪池空間本身已經很震撼，我們覺得其實 不需要做任何事，所以作品最終是以一種很收斂的辦法 呈現。現場會看到數條布帶，燈光方面只用一盞燈，而聲 音處理上亦主要用一隻喇叭，利用空間本身十秒的迴響時 間。各種介入主要是為了穿線，去調解場域本身的建築空 間特質和氛圍，串連各種空間與時間的關係，幫助觀眾自
We tend to only focus on classic artworks when we discuss art. These are institutionalised “Art” with capital A. In my opinion, art should be seen with a broader definition, celebrating daily life. Art is not a rigid dead object. It is a “way,” an intangible way, a process. The boundary between “the way of art” and “the work of art” could be more fluid. This is what I have been trying to achieve in my practice.
的定格，以及屋頂上各種人的流動等等，與機構創辦人 Alain
Fleischer是同一個意念出發，兩者相輔相成。雖然
當時覺得很概念化，但在潛意識中也會有影響。 Le Fresnoy所處的法國北部城鎮曾經是工業興盛的地方，後來走 向後工業時代的轉型。我2004年去的時候正值Lille成為 歐洲文化首都，政府有推出新的城市規劃和各種文化項 目，以呼應城市歷史特質，展望未來。然而Le Fresnoy的 定位是與國際和國家一級文化機構接軌，並沒有太在意社 區營造的面向。這就啟發我當時很想跳出去做一些與地域 有關的事情，比如做麵包紙、公共空間的海報、紡織機幾 個作品。 HW：後來你去了意大利Fabrica，這次是安藤忠雄的建 築，有什麼不一樣的感受？ KN：在Fresnoy之後到Fabrica有很不同的經驗。當時在 那裏是一個駐場計劃，真正在一個建築物裏生活和平時看 照片很不同。安藤的建築處理很謙遜，把大部分建築放在 的窗，看到外面的阿爾卑斯山。每一天看著一道光在清水 混凝土牆上移動，體會空間時間的交融。這種平易樸實， 從最基本中體驗自然之美對我很有啟發。 HW： 最後想談談最近在藝術界和建築界都很強調的社 會責任。從早期在Le Fresnoy的麵包紙、越後妻有的《風 鈴》到在香港兩個版本的《月台》，你的作品很多都涉及 社區參與。你覺得藝術能對社區有什麼貢獻？ KN：我比較不會以很直接的方式介入，反而更傾向一些 不太直接又需要時間的辦法。Jaime Lerner提倡「城市針 灸（urban acupuncture）」那類型的思考在當今很有相關 性，它不是一個外部力量強加造成的改變，而是內部的利 益相關者被賦予力量，有動力去做自己想做的事。把藝
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己去體驗。比如李一葦在做音樂的時候就純粹是要配合觀 眾看到的週邊自然環境，聲音很輕，而且基本上是就地取 材的元素，就是要返回到場域本身。 《大禹之後》和《秘密花園》都有類似探險的體驗，想嘗 試拿捏既有一定的敘事導向性，帶觀眾進入一種狀態，但 又不會太具像化而侷限了觀眾自己的投入和體驗。所以聲 音這種媒介對我來說很重要，因為它更可以在每個參與者 的腦海裡勾起最寶貴的一刻，串連自身曾經在腦海裡沉澱 過的回憶。《大禹之後》可能會令一些不太接觸當代藝術 的觀眾覺得很抽象，但是我們還是希望他們在舊水道中仍
KN: I don’t like direct interventions, so my works tend to be relatively indirect and often time-consuming. Theories along the line of Jaime Lerner’s “urban acupuncture” are highly relevant in the current situation. Change does not come from external forces. Instead, the internal constituencies are empowered to do what they want to do from within. Considered from a wider perspective, art and society are always connected. As mentioned earlier, all religions and rituals and folk art creation are bridges between the two. For instance, during Mid-Autumn Festival, folk art organisations would set up stages for various performances and workshops for paper cutting and lantern making. That kind of activities was a bridge connecting the moon, harvest, and the mood for winter. Now we have advanced from the agricultural society, how can we still try to build on these Mid-Autumn Festival traditions? The two versions of To the Moon in Jordan Valley Park and Cultural Centre aimed to explore the relationship between art and festival rituals. Actually, they were not necessarily defined as art. They were just Mid-Autumn Festival moon watching activities. We did not need eye-catching installations, nor specifically invited guests. Most of the participants were local citizens who had been coming here every year to watch the moon with families and friends, to share a night with each other. The Jordan Valley Park version embraced the site’s landfill history, asking children to invent their own recycle systems. The children’s interpretation of our city and its natural environment offered a fresh new angle to the understanding of Mid-Autumn Festival.
的關係，從電影蒙太奇（cinematic montage）去拆解電影
地面以下，反而更可以看到原來的舊建築，通過一個小小
HW: Then you went to Fabrica in Italy afterwards. It was Tadao Ando’s architecture this time. Did it feel differently ? KN: In Fabrica I had a very different experience from Le Fresnoy. It was a residency programme. To actually live in a building is very different from seeing it from photos. Ando’s architecture is very modest. Most of the new construction happens below ground, so the design reveals more the original old building. The Alps outside could be seen from a small window. Every day I saw a beam of light moving slowly across the fair-faced concrete wall, experiencing the convergence of space and time. This experience of simplicity and natural beauty on the fundamental level was very inspirational to me.
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（genius loci）的理論，這是比較從西方學術角度出發
能從場域或從自身與城市關係的經驗找到一些線索。我們 想嘗試不同模式的藝術推廣，希望作品有一定開放性，但 也不想失控，需要一小點的導向性。 HW：《二十五分鐘後》這個作品也很有故事性，在空間 上也把車內空間與車外城市空間疊合。這個作品有香港、 米蘭、及最近的越後妻有版本，在不同的城市和自然環境 中會不會有不同的考慮？
術和社會的關係放到更大的範圍來看，它們其實一向都 沒有分隔的。像之前提到的，自古以來各種宗教和儀式 和民間藝術創作都是兩者的中介。例如民間在過中秋節 的時候，民間藝術團體就會搭台做剪影做燈籠，那種創 作也是一個中介，跟月亮、收成、進入冬季準備的心情 發生關聯。今時今日我們脫離了農業社會，中秋除了這 些傳統之外還可以試什麼？佐敦谷公園和文化中心的兩 次《月台》項目就是想探索藝術與節慶、儀式的關係。 其實也不想定義為藝術，只是一次中秋賞月活動。出發 點不是要很搶眼的裝置，也不需要特別邀請觀眾，很多 是當地市民跟家人朋友來到這個他們每年都來的地方賞 月，分享一個晚上。
佐敦谷公園那次更是因為堆填區
的歷史，讓參與的小朋友自己構想一個循環系統。當聽 到小朋友如何演繹他們對於我們城市跟大自然關係的時 候，又會有另一個層面去解讀中秋。 很多時候我們講藝術只是看一些經典藝術品，其實在這 些被某種體制認為是「Capital A」的藝術（Art）之外， 還有一些比較日常的更廣闊的藝術定義。藝術不是一個死 物，而是一種「術」，一種無形的方式，一個過程。「藝 術」和「藝術品」兩者的界線可以更模糊一些，這也是我 的創作一直嘗試達到的。
KN：三個地方的版本很不同，就算在香港也做過兩個很 不一樣的版本，雖然都是用劉以鬯先生的文本《對倒》。 第一次的版本比較關注電車行經的地域與文本的關係，比 如銅鑼灣、灣仔、中環、上環各地方都有相對應的文字。 第二次在Art Basel則更強調《對倒》中淳于白和亞杏兩個 角色平行故事的敘述。當觀眾坐在車廂的左邊或右邊，只 會聽到一個角色的故事，在一邊望著另一邊的時候需要憑 想像來補充對方的故事，如果真要知道兩個故事就需要坐 兩邊。這也回應了「暗室（camera obscura）」的比喻： 一正一反在小孔處有一刻間的交界。第三次在米蘭，嘗試 07
回應Calvino在《看不見的城市》中講到其中一個城市是 另外一個城市的對倒的狀態。「每次抵達一個新城市，旅 人都會再度發現一段自己不知道的過去。」在米蘭這個地 方聽一個香港的故事但同時看著米蘭這個城市的影像，這
01 After the Deluge, 2018.
本身就是一種對倒和錯配的模式。今年到越後妻有大地藝
02 Twenty five Minutes Older, Hong Kong version, 2016
術祭又完全是另一回事。這版本重點是放在「暗室」流影
03 Twenty five Minutes Older, Milan version, 2017
的比喻：當你去捕捉和思考當前影像的一刻，這一刻就會 永遠消逝。在越後這種地方，一些事物看似永恆，另一些 卻一閃即逝，感覺很明顯。山川悠遠，很多在城市裡已經 流逝的東西可以在這裏得以保存：大自然、四季……從車
04 Twenty five Minutes Older, Echigo version, 2018 05 La Ville dans la Baguette, la baguette dans la ville, 2004 06 Homage to Tadao Ando, 2006 07 To the Moon, Jordan Valley Park version, 2014 All images courtesy of the artist
裏看外面的景象一切都是平行的保存和消逝。 01《大禹之後》，2018
HW：剛才提到的幾個作品都涉及多種媒體的混合，這種
02《二十五分鐘後》香港版，2016
創作方式應該與你在Le Fresnoy的訓練有關吧。我們建築
03《二十五分鐘後》米蘭版，2017
師常常認為建築空間能影響人，Bernard Tschumi設計的
04《二十五分鐘後》越後妻有版，2018
建築對你有沒有什麼影響？
05《La Ville dans la Baguette, la baguette dans la ville》，2004 06《Homage to Tadao Ando》，2006
04
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KN：影響是一定有的，比如Tschumi講述的事件與建築
07《月台》佐敦谷公園版，2014 所有圖片均由受訪者提供。
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Architecturalness in Contemporary Art
FEATURE
In 1968, Hans Hollein published his seminal text “Everything is Architecture (Alles ist Architektur).” He declared that traditional and limited definitions of architecture had lost their validity, and the environment around us as a whole should be considered architecture. The one-page text was published with many pages of captioned images, ranging from lipstick to pill capsule, from space suit to binary codes, from fashion models to Che Guevara, and of course, many pieces of art.
Shared Concerns and Borrowed Means
Similarly in the art world, there have been manifestos declaring, “Everything is art.” In the practice of contemporary art, artists have been trying to further blur the boundaries between different fields. Quite frequently, architectural components can be seen in artworks, addressing issues that have long been the focus of discussion in architectural discourse.
在當代藝術中看到建築 共通議題和借用媒介
奧地利建築師Hans Hollein曾於1968年撰文《一切皆建 築（Alles ist Architektur）》，宣稱建築的傳統狹隘定義 已經不再有效，我們身邊環境的一切皆應理解為廣義的 建築。簡短的文字之後是大量被Hollein視為「建築」的 圖片，從唇膏到膠囊藥丸，從太空衣到二進制代碼，從 時尚模特到Che Guevara，當然還包括不少藝術作品。
藝術界也有許多「一切皆藝術」的宣言，各領域的邊界 近年也更日趨模糊化。在當代藝術中，藝術家涉獵的範 疇越來越廣泛，作品中常常能看到建築的元素，通過藝 術詮釋建築師也一直在關注的各種議題。
Text 文 | Human Wu
Tectonics 看 到 建 構 Architecture is a constructional craft. Construction involves structure, and the expression of how things are put together. Ultimately, the notion of tectonics is about relationships between things. 建築是一種建造的工藝。建造與結構有關， 也是對各部件如何接合的關注。建構這個建 築概念推廣來看最終是事物之間的關係。
Gabriel Orozco, Visible Labor, 2015 作者攝於Venice Biennale 2017
Sopheap Pich, Seven Parts Relief, 2012 作者攝於documenta 13, Kassel, 2012
O3
作者攝於Fei Gallery, Guangzhou, 2017
了人的印記。一條簡單而精準的直線賦予空間一個強有力
承了柬埔寨本地精湛的手工藝，忠實表現了竹和藤材料的
的定義。
搭接關係。「雕刻」變成一個裝配的過程。
可能性？
Unlike the three-dimensional grids by Sol LeWitt, the reliefs by Sopheap Pich reveal the connected nature of the bamboo and rattan members, drawing inspirations from local Cambodian crafts. In Pich's case, sculpting is assembling.
Song Dong salvaged door and window frames from houses in the destroyed neighborhoods, and composed an over 100m long wall in Guangzhou. These materials gained a new life as facade system through the creative act of the artist.
Through walking, a primordial and mechanical movement, Richard Long left a mark in the timeless wilderness. The simple yet powerful straight line defined the space.
Space
O4
Model Room, 2003 作者攝於P.S.1, New York, 2008
ly impressed by traditional Japanese culture, he placed four large beams at the center of his sculpture installation. The beams were assembled and branched out with ancestral Japanese mortise and tenon joints.
在 2 0 0 8 年 紐 約 M o M A / P. S . 1 舉 辦 的 美 國 首 次 大 型 個 展，Olafur Eliasson帶來了一系列設計研究模型和樣板，展 示他對多種材料和幾何結構的迷戀。他源於各類自然結構 及多面體單元組合的作品被視為融合藝術、科學、建築、 設計的代表。 At the 2008 MoMA/P.S.1 survey exhibition, Olafur Eliasson brought a model room, showcasing study models and prototypes from his studio. His obsession with materials, structure and geometry puts him in the junction between art, science, architecture, and design.
年輪的「原始」小樹構造型態。藝術家在創作，自然才是 真正的雕塑家。 Following the growth rings, Giuseppe Pennone chiseled away the trunk, working his way through to the youngest growth ring and exposing its natural architecture. It was an effort to reverse the process of making, acknowledging that the true sculptor is in fact nature.
Gordon Matta-Clark,
看 到 空 間
Gabriel Orozco created this work in Japan in 2015. Deep-
Giuseppe Pennone沿著樹木年輪把樹干剝開，尋找最幼嫩
08
能擺脫建築師的成見，在藝術家的手上得到成為牆面的新
拼接，成為雕塑裝置。
作者攝於Kunstmuseum Basel, 2012
擷取自www.richardlong.org
與Sol LeWitt的立體網格不同，Sophead Pich的「浮雕」傳
Olafur Eliasson,
230 cm Tree, 1977
Walking a Line in Peru, 1972
Richard Long用行走這種原始的方式在自然的大地上留下
O1
O2
O6
Richard Long,
過100米的櫥窗。舊物被賦予新的功能與意義，門窗是否
動。作品直接取材四條木梁，採用日本傳統建築榫卯方式
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Song Dong, The Borderless Wall,
宋冬搜集廢棄門窗，在廣州東山口社區構築起一幅全長超
2015年Gabriel Orozco來到日本，深深為日本傳統文化所打
Giuseppe Pennone,
宋冬，無界的牆，2017
Tomás Saraceno,
Conical Intersect, 1975 擷取自www.bmiaa.com
The purpose of construction is to create space. Essentially, architecture is about the definition and arrangement of space. 建構是為了創造空間。建築是空間的藝術， 建築的問題是關於空間限定和組合的問題。
Gordon Matta-Clark的介入是移除。學建築的他深諳空間 的幾何特性，圓錐體的切割擾亂了空間的透視關係，穿透 建築的幾何虛空在空間中憑藉切割的交界線而呈現。 Gordon Matta-Clark's intervention was removal. Trained as an architect, he was mindful of the geometric dimension of space. The intersecting cut lines in the building acted as contours to form the penetrating void, whose conical shape confused the perception of depth in perspective.
O5 Eduardo Chillida,
Galaxies Forming Along Filaments,
Aldikatu III, 1972
Like Droplets Along the Strands of a Spider’s Web, 2008 作者攝於Tanya Bonakdar Gallery, New York, 2008
擷取自www.lempertz.com
Fred Sandback,
沿著有如蜘蛛網般的彈性絲繩而生成的「星河」，受神經
Untitled (Sculptural Study,
脈絡結構啟發的模塊化結構「雲城」……學建築出身的藝 術家Tomás Saraceno延續了建築界先驅Buckminster Fuller
Six-part Construction), 1977
和Yona Friedman的理想，探索懸浮居住的可能性。 Intricate filaments forming a spider's web, polyhedral structure inspired by neural synapses... Tomás Saraceno continues the tradition of visionary architects before him, including Buckminster Fuller and Yona Friedman, exploring a utopia of flying metropolises.
作者攝於David Zwirner Gallery, New York, 2009
O7
畫廊原本空無一物，Fred Sandback加進一些黑色的紗線， 線暗示了面，而互相垂直的面又產生了空間。 Black acrylic yarns were put in an otherwise empty gallery. Lines implied planes, and the perpendicular planes formed a space.
09
10
空間形狀的閱讀需要由邊界限定，但圖形的正負圖底關係 是可以互換的。如果把Chillida的畫作看成建築圖則，當中 的黑色是蛇形的實體還是挖空的隧道？那左下角的白又會 是「背景的背景」嗎？ Edges define the shape of space, but the reading may be ambiguous when it comes to figure-ground relationships. In this Chillida painting, is the black shape a positive snake-like form or a negative tunnel-like void? What about the "background of the background" at the lower left corner?
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Dan Graham, Oktogon für Münster, 1987 作者攝於Münster, 2017
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14
Anish Kapoor,
雙向鏡面玻璃組成了一個八角形平面的亭子。外面看不
Descent into Limbo, 1992
到裏面，只能看到周邊樹木的鏡像；而在裏面可以看到外
擷取自www.serralves.pt
面，但卻是一種被扭曲的風景。多重空間通過材料的透明 性和反射性相互交疊，最終建築消失在樹林之中。 Two-way mirror panels were arranged as an octagon in plan. Layers of exterior and interior spaces overlapped each other through transparency and reflection. At the end, the architecture dissolved in the landscape.
FEATURE
Marina Abramovic & Ulay,
18
Imponderabilia, 1977 擷取自magazine.art21.org
在意大利一個展覽的開幕式上，全身赤裸的Marina Abramovic和Ulay面對面站在門洞裏，要進入展覽的人不得不發生 身體接觸在他們之間擠過去。藝術家的身體改變了空間，
Anish Kapoor善用鏡面扭曲空間的形狀與深度，他亦有一
Trisha Brown,
同時也成為了空間的一部份，建築的一部份。他們之間的
個黑洞系列嘗試把空間平面化。幾年前，他獲得「最黑的
Man Walking Down the Side of a Building, choreographed by Trisha Brown, 1970; performed by Stephen Petronio, 2010
狹縫才是真正的表演場地，而進出的人才是真正的表演者。
黑色」專用權，用這種可以吸收99.96%光的顏色取消對 空間深度的感知。有新聞報導說一個觀眾在葡萄牙美術館 展覽中掉進了這個黑洞作品。 Anish Kapoor is known for his mirror works that distort the perception of space. He also flattens space. A few years ago, he acquired exclusive rights to Vantablack, the darkest black pigment that absorbs 99.96% of light. The pigment canceled the perception of depth in his black hole series, and it was reported that a man fell into the dark pit of Limbo at an exhibition in Portugal.
作者攝於Whitney Museum, New York, 2010
16
舞者出現在屋頂的邊緣，身體慢慢地向外傾出直至與牆 面垂直，臉朝下。他開始從容地往下行走，有如在平地
At the opening of an exhibition in Bologna, Marina Abramovic and Ulay stood face to face at the entrance, fully naked, motionless. The bodily intervention altered the space. They were integrated in the space, or more precisely, in the architecture. The space between them was truly the arena for performance, by the true actors who tried to squeeze through.
上漫步。舞者用他的肢體動作去影響空間，改變了我們 對空間方向的判斷。除了建築之外，空間也可以被人的 身體所定義。 Anish Kapoor is known for his mirror works that distort the perception A dancer stood at the edge of the roof, leaned out, and balanced his body to a perfect horizontal position facing down. Then he started strolling down the wall as if he was walking on a horizontal surface. The defiance of gravity chal-
Rémy Zaugg, Situation while shooting the film Projection, 1990 擷取自www.myartguides.com
12
畫家要畫風景畫，他的畫布卻遮住了風景。幻燈機把圖像
lenged our perception of orientation. Space was transformed by the sheer physicality of the human body.
People
Andrea Zittel, A-Z Mobile Compartment Units, 2008 作者攝於Moderna Museet, Stockholm, 2014
看 到 人
投射在畫布上，好像在畫布上開了一扇窗，風景再次變得
19
可見。畫家開始作畫，沿投影的圖像著筆。風景、投影、
這個「組合櫃」中的每一個單元都為人類日常生活的一個
畫作三個空間重複交疊，到底哪個才是真實？
特定需要而設：睡覺、吃飯、閱讀、看電視……在其創立
The painter wished to make a landscape painting, and he set up a large canvas in front of the view. An image of the landscape was projected on the canvas, as if opening a window to the hidden view. The painter started to paint, tracing the image in the projection. Three spaces/landscapes were superimposed. Which one is real?
Architects create space for the inhabitants. The art of spatial arrangement and design is a choreographic endeavor of human behavior. 建築建構和空間創造，最終還是為了棲息 其中的人。建築和空間的組織其實是對人 行為和生活的編排。
的「A-Z調查生活研究所」框架下，Andrea Zittel的創作 一直探討一個建築師們也很關注的議題：「如何生活？」
Gregor Schneider, N.Schmidt, 2017 作者攝於Skulptur Projekte Münster 2017
17
Each unit in this “composite furniture＂ is dedicated to the satisfaction of a single human need or daily desire, such as sleeping, eating, reading, or watching TV. Within the framework of her company “A-Z Institute of Investigative Living,＂ Andrea Zittel explores the core question that many architects are also concerned with: “How to live?＂
在美術館職員的招呼下，觀者從玄關進入公寓客廳。窗掛 著輕紗，一旁的電視呈現著同一景象。電視中有人走過， 觀者心想：這一定是先前的錄像吧。穿過睡房和浴室， 觀者回到之前的玄關。職員不知所蹤，而離開的門上警告 說需要拍卡，否則警報就會響。逼於無奈，還是再次進入 客廳吧。窗掛著輕紗，一旁的電視呈現著同一景象，但這
James Turrell,
次電視中卻沒有人。觀者心想：先前我走過的錄像可能已
13
經播了吧。穿過睡房和浴室，觀者回到之前的玄關，看到 了職員，離開的門也沒有任何警告。這時才發現，原來這 一圈的旅程並沒有重複走過同一個空間，而是走過了兩個
Apani (Ganzfeld), 2011 作者攝於Venice Biennale 2011
遠遠望去，牆上掛著一張純粹的單色畫；拾級而上才發 現原來是一個房間，緩慢變色的燈光照亮了空間。James Turrell的「Ganzfeld」系列作品，顧名思義就是著眼於空
Bruce Nauman, Wall-Floor Positions, 1968 作者攝於14 Rooms, Basel, 2014
15
Theaster Gates,
完全一樣的公寓單位，電視的畫面是另一個單位的同步直
12 Ballads for the Huguenot House, 2012
播。藝術家對空間的安排和建築的處理都直接影響了，甚
作者攝於documenta 13, Kassel, 2012
至說玩弄了觀者的心理和行為。
20
2012年的「卡塞爾文獻展」，Theaster Gates在一處被戰
Visitors were only allowed in the apartment individually. Af-
爭破壞的破舊房屋進行了一次「社會實踐」類型創作。他
ter walking through the entire unit, the visitor was back in
雇用卡塞爾和芝加哥的建築工人，用在兩個城市找到的廢
間的深度。均勻的單色面取消了幾何的邊界和形狀，把空
在1968年的錄像作品中，Bruce Nauman在牆面與地面的
the anteroom. To his/her surprise, there was an “Alarm will
棄建築材料對房屋不斷進行翻修，作品不是一個漂亮的建
間平面化，或者說，把深度神秘化。
交接處面向四個不同方位擺出蹲、坐、立、臥、彎腰等七種
sound＂ warning on the exit push bar. Without any choice,
築物，而是一處表演、對談、晚餐的社交文化場所，是一
From afar, it looked like a monochrome painting hung on the wall. In fact, it was a room where viewers immersed themselves in a boundless atmospheric space with constantly changing color. James Turrell´s Ganzfeld series plays with the depth of space. (Ganzfeld is a German word to describe the total loss of depth perception.) The even light field diminishes the edges, flattens the space, and mystifies the dimension in depth.
姿勢，整個序列持續半小時，表演出28種不同的身體與建
the visitor entered the apartment again. In fact, this is a mirror-symmetrical apartment whose room sequence and interi-
個活著的生活實驗室。
築空間的關係。 In the 1968 video work, Bruce Nauman performed seven positions: standing, bending, squatting, sitting, and finally lying down, while facing four different directions. All in all, the half-hour sequence demonstrated 28 different relations between the human body and the architectural space it occupies.
ors were architecturally identical to the first unit. Only when arriving at the real exit in the first anteroom did the visitor realize this was actually a two-unit full circle route. Like an architect, the artist manipulated the visitor both on the psychological and behavioral levels with his specifically designed spatial arrangements.
Tectonics, space, and people are three core topics in architectural practice and discourse. Art or architecture, it is the same universal engagement manifested in different forms and means. ampost 2019_��_�.indd 5
For documenta 13, Theaster Gates conducted a “social practice＂ project and reactivated the dilapidated Huguenot House, which had been damaged during World War II. Employing builders from Chicago and Kassel and using salvaged materials from both cities, he turned the building into a lived-in laboratory for performances, talks, dinners, and other social events.
建構、空間、人這些建築領域的核心議題在當代藝術中屢有表現， 一些藝術家更加運用建築的媒介或元素進行創作。 無論是建築，藝術，或其它何種領域， 最終都是共通的價值和議題以不同的方式表達罷了。
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Architecture in the eyes of photographers
FEATURE
攝影師眼中的建築 ──與何兆南、曾家偉對談
A Conversation with South Ho and Eason Tsang
Interview 採訪 | Human Wu Edit 整理 | Anna Yiu . Human Wu Translation 翻譯 | Phoebe Cheng
01
Photography and architecture have very different expression of time and space: one represent the world in two dimensions and captures a particular moment, while the other is three-dimensional and seeks for permanence. At the same time, the two art forms are inextricably connected. Many photographers, most remarkably those from the Düsseldorf School, have often taken architecture as their subject matter. The unique urban space in Hong Kong has also inspired local photographers such as Fan Ho, Michael Wolf, and Leung Chi Wo. For this special feature, we invited two young photographers, South Ho Siu Nam and Eason Tsang Ka Wai to talk about their creative process and what architecture and the city mean to them.
攝影與建築似乎有著完全相反的空間性與時間性：一個 平面，表現瞬間；另一個則立體，希冀永恆。但兩者 卻一直有著千絲萬縷的關係，很多攝影師的藝術創作， 以 Düsseldorf School為典型，都以建築作為題材。在香 港，獨特的城市空間亦啟發了一批傑出的本地攝影師， 例如何藩、Michael Wolf、梁志和等。這次對談請來何 兆南、曾家偉兩位香港青年攝影師，講述他們的創作歷 程以及他們眼中的建築和城市。
02
2019
BIENNALES / TRIENNALES 2019 雙年展/ 三 年 展
1
月
9th Contour Biennale
第九屆國際影像雙年展 Jan 11 - 13, May 17 - 19, Oct 18 - 20
transmediale
2
月
Feb 9 - Apr 21
Manif d’art
魁北克市雙年展 Feb 15 - Apr 21
3
月
XXII Triennale di Milano 第十二屆米蘭三年展 Mar 1 - Sep1
14th Sharjah Biennial
柏林跨媒體藝術節 Jan 31 - Feb 3
Desert X
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JAN
第十四屆沙迦雙年展 Mar 7 - Jun 10
FEB
2nd Honolulu Biennial 第二屆檀香山雙年展 Mar 8 - May 5
2nd The National 2019: New Australian Art 第二屆「國家」雙年展： 新澳大利亞藝術 Mar 29 - Jul 21
MAR
03
2nd The National 2019: New Australian Art 第二屆「國家」雙年展：新澳大利亞藝術 Mar 29 - Jul 21
The National is a six-year initiative, exploring the latest ideas and forms in contemporary Australian art. 2019 being the second edition of the art major collaborative venture, it will be held in three major art institutions in Sydney, including the Welsh State Museum of Art, The Museum of Contemporary Art Australia and Carriageworks, navigating the boundary between chaos and control in work that is by turns political, poetic and personal and responding with subtlety and ambition to the times they live in. 於2016年由悉尼市推出為期三屆的大型藝術項目，在2019年舉辦第二屆的 「國家」雙年展（The National），將於悉尼的三個重要藝術機構舉辦：新南 威爾士州美術館、澳洲當代藝術博物館和馬車創意空間，探討控制與混亂、穩 定與無常、權力與未來等話題，回應當下充滿矛盾衝突的時代。
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February / March 2019
Documentation vs. Expression Art Plus (A+): Both of you have works featuring architecture. Can you tell us about your experience photographing Tai Kwun and M+? South Ho (South): I find the project at Tai Kwun Contemporary quite interesting because it allowed me to combine my thoughts into architecture documentation. When I first visited Tai Kwun Contemporary, the structure was completed but the interior fit-out work was still underway. The place gave an impression of emptiness and coldness. To me, the most important elements in an ideal art space were people, including the visitors and the artists. Both were absent from the building then. Therefore, I used black-and-white to express the monotonous tone in the first part of the work, and in the second part I projected the colours of an earlier work, Impermanence, in the exhibition space. I hope to remind the viewers that it is people who would make an art space successful. What matters is not the size or the glamour of architecture, because a building is but a container. It was interesting to show a potential space in a half-finished one. What I felt, saw, and recorded, might not be experienced the same way in the future space. That I particularly treasure, because the half-finished status was probably more aligned to the original design intention. It reminded me of an early work of Hiroshi Sugimoto. In the series, the artist modified the focus setting to blur out buildings. There might be a lot of compromises to realize an architecture sketch, and such 04 compromises became the blurred-out area in Sugimoto’s work, as an abstract representation. Eason Tsang (Eason): I started taking pictures of the M+ site in an earlier stage of construction and witnessed how spaces were formed on a piece of empty land. It made me realize that the spatial setting determined all activities of the user in the future. For instance, a lot of “back-of-house” space would not be seen or accessed by the public, so it was interesting to think about the relationship between serving and the served. I also found it intriguing to see subdivision in progress as a building took form. Creating a space means the differentiation of one area from another, and during the process there is an increase in privacy. The open view from the beginning would get obscured after the steel rebars were put up, and later completely blocked after concrete was poured. For this reason, I often adopted a wide-angle view from above to reveal interesting relationships, such as the construction workers who were separated by a single wall. Within the space I also noticed different degree of privacy and openness. People could carry on regular conservation across both sides of the steel rebars, but they could not reach each other or hand over large objects. Distance, in this scenario, meant more than the usual spatial interpretation, but also the barriers in communication. During the construction of a building, privacy levels changed with time. The architect’s plan defined all activities, including the users’, but also that of the construction workers, long before the building was completed.
From Details to the Overview A+: Apart from photographing space, you pay attention to the elements in an architecture as well, such as South’s socket photos. What inspired the series Gaze? South: A photographer is often passive in the creative process. We sample a certain idea from the physical world, observe and digest it to uncover properties that are overlooked. But after all, it is a passive participation. The sockets triggered a subjective visual association that was unrelated to its actual usage. At first, I found them looked like human face, which reminded me that in movies, the characters sometimes gazed at out-of-frame people or events, and that allowed endless imagination. Gaze first appeared as a commission project by Oi!. My main focus were the sockets and drain covers. I thought the objects that brought everyone convenience somehow resembled our guardian angels. Through the work, they were made into totems that resembled nature-worshipping religions. A+: Bernd Becher and Hilla Becher’s water towers appeared as “guardians” as well, but their works came as a record and collection that were more direct and neutral. South: If I didn’t remember it wrong, they produced the series because the water towers were related to their childhood memories and those structures were disappearing. Photography is a realistic and objective medium. But when it comes to art, even an encyclopedia-editing approach contain personal emotions and choices. Without personal sensibility, the work would be a mere catalogue or a dictionary. A+: Eason has also explored new architectural perspectives in Landmark and Rooftop. Will you tell us about your thoughts behind the two series?
cided on the new angle, I kept observing my surrounding in that way. This sampling process was somehow like what the Bechers did with the water towers. For Rooftop, it started with a feeling that rooftops were awkward spaces. Although they were on private premises, everything that went on there could be seen from a nearby building, making it a semi-public 05 space. I enjoyed working on that series more because every rooftop was a new adventure to me. Drones were not common back then, so I would sneak into taller buildings nearby and photograph a lower rooftop from above. I found myself invading two rooftops and two private premises at the same time: one by means of physical presence and the other by photography. The site selection was rather random in the beginning, but when I went through the works, I realized that the photographs were only possible in districts where transitions were taking place. There was a diversity of both short and tall buildings in Causeway Bay, Central, and Sheung Wan, but not as common in the new towns. A+: It is interesting that your observation on rooftop spaces led to a new reading of the whole city.
FEATURE
記錄 vs. 表達 曾：我 很 同 意 阿 南 剛 才 說 的，攝 影 是 很 被 動 的 創 作 方 式。 Art Plus (A+)：你們兩位的攝影作品有不少是以建築為題材，我
《地標》和《天台》的創作就是一種較 為 被 動的狀態。當時對
們做這次專題中希望了解你們觀看建築的角度。你們分別有拍
香港城市千篇一律的樓宇感到很厭倦，但自己又覺得不能改變
攝了大館和M+，有什麼體會呢？
什麼，最終只有改變自己，換一個角度來看這個城市。其實這是 一種雙重被 動：首先攝影本身是被 動的，然後創作的動機也很
何兆南 (何)：大館當代美術館這個項目挺有趣的，可以在記錄建
折衷。當我有了換角度的想 法 之後，就會一直用這個 新角度觀
築的同時將自己個人的想法融合一起，成為一個作品。當時大館
察城市，創作方式又反而有點像Becher拍攝水塔的那種樣本搜
工程尚未竣工，但結構大致完成，我的第一刻感覺是：空間非常
集。至於《天台》，我是覺得天台是個很尷尬的地方，它既是住
空蕩，有一股冷冰的氣息。我認為一個理想的藝術空間最重要有
客的私 人空間，但周邊大 廈看下去卻能一目了然，亦即我 剛才
兩個元素：一個是人，包括觀眾和藝術家，另一個是藝術作品，
討論的半開放空間。拍攝那個系列其實我更享受的是過程，仿
而當 時 這 兩者 都仍 未存
似探險一般。當時是在無人機盛行之前，我會闖入周邊較高的
在。於 是 我 決 定 第 一 部
大廈，從高處天台往下拍攝較 低大廈的天台。這 就好像同時入
分採 用黑白突 顯 這個 單
侵兩個天台，兩個私人空間，一方面用身體，一方面用相機。開
色的空間，第二部分又將
始的時候地方選擇比 較隨機，之後歸納作品時才發現，這個系
月
的 藝 術 空間 未必是指一
5
月
58th Venice Biennale
或 偌 大，空 間 中 最 重 要 07
Whitney Biennial 惠特尼雙年展 May 17 - Sep 22
the Oslo Biennial 奧斯陸雙年展 May 25 - (dates TBC)
ampost 2019_��_�.indd 7
空間與時間
的始終是人，而建築只是 A+：攝影是以 2D表 達3D的媒介，但 E ason的《花 布》系列則
一個載體。
將2D的布用3D做出來然後再用攝影還原到2D，我覺得很有意 在一個半裝修好的空間裏，表達一個已完成興建的未來空間，這
思。你可以講講對2D和3D關係的理解嗎？
很有趣。我當時感受到的、看到的、拍下來的一切，將來觀眾在 曾：其實做《花布》的時候沒有太考慮2D、3D的問題，當時主 要是讀Rola nd Ba r t hes的攝影理論，提到相機的機械 物理令
A+: Photography is a medium to display the 3-dimensional world in a 2-dimensional image, but Eason made several twists of the dimension in Floral Fabric. How do you see the relationship between dimensions?
博司早期有個系列在拍攝樓宇時特意採用失焦技術，使照片變
拍攝在某程 度上已經代表真實。我就想，如果一開始拍攝的對
得模糊。建築師的設計會有很多實際的限制，總要有所妥協，這
象 就 是 抽 象，真 實 的
種妥協正是杉本的模糊，他用一種抽象的方法表現出來。
意 義 又 何 在？花 布 上
Eason: Dimension was not really the starting point at the time. I was inspired by Roland Barthes’s photography theory. He suggested that the mechanics in a camera made the photograph an analog of reality. But I asked myself, what if the subject was abstract from the very start? What would the meaning of reality be? The patterns on a piece of fabric were printed images that had no physical form. With that in mind, I bought flowers from the market and made them into an installation. With the help of photography, I recreated the reality projected by the floral pattern. I only observed the transformation from 2-dimensional to 3-dimensional afterwards. In Floral Fabric and Rooftop, the camera compressed the depth of space. When you print an image on paper, the medium that carries it is nothing but a surface; then how much depth can an image add to a piece of paper? This question later inspired me to explore the relationship between imagery and the true size of real-life objects, and the internal spatial structure. Two series were developed afterwards: the lightboxes in Internal Structure, and the television-cleaning video in House Work. In the lightbox series, the depth displayed in the image was the same as the depth of the light box. With that, I aligned the depth of the image and the medium, and the information they contain was exactly the same: no more, and no less.
曾家偉 (曾)：我開始拍攝 M+建築工地的階段 比你更早，從 最
的，沒 有 實 物，於 是
初一塊空地，一直見證著空間如何從零開始劃分，很感受到建
我 就 去花 墟 把 實 物買
築 師 對 空 間 的 設 定 很能 影 響之後 用家的 活 動。其中 一 個 最 大
回 來 做 成 裝 置，然 後
的感受是一些平 時公眾不能 進 入 或不留意 的空間其實佔 據了
再借 助 攝 影 的 真 實 性
建築很大一部分，令我想起使用上的服務（serving）和被 服務
將 原本 想 像 的 圖 案 還
（ser ved）關係。另外一個有趣的是我發現空間的建構是一個
原出來。至 於2D、3D
不斷隔離的過程，製造空間就是要把一個空間與另一個空間區
的轉變是後來才發現
A+: We mentioned the physical properties in photography. With a shutter click, a moment is frozen. How do you capture time in photography? Will South share some thoughts on capturing the Umbrella Movement? South: The series about the Umbrella Movement were extracted from a large volume of images. I chose not to bind the book because the whole movement was quite loose and never had a consistent rhythm. If I bound the book, the fixed sequence would have limited the way readers read. I believe that the movement belonged to everyone and everyone had a personal feeling about it, so I put more emphasis on emotional resonance rather than a one-way narrative. I did not adopt a photojournalist approach, because that was being done by many already. Photojour06 nalism is often limited to a particular moment, and they are easily manipulated and misinterpreted. I think photographers should do more than recording a moment. They should leave the viewers more room to think by offering more factual information or personal abstract reflections.
的 圖 案 本 來 是 畫出 來
MAY
威尼斯藝術雙年展於1895年創立，為歷史最悠久，最早創立的國際雙年展。 展覽分為主題展(Central Pavilion)、國家館(National Pavilions)與平行展(Collateral Events)，主要展區為軍械庫（Arsenale）及拿破崙花園（Giardini）。 第58屆藝術雙年展將於2019年5月拉開帷幕，由倫敦海沃德美術館（Hayward Gallery）總監雷夫·魯戈夫（Ralph Rugoff）出任策展人，並命名為“願你生 活在有趣的時代"（May You Live in Interesting Times）。
09
可以一目了然，隨後鋼筋會阻擋一定的視線，最後灌水泥就完全
《天台》，鏡頭都很大
不知道另外一個空間發生的事。所以我偏向用一個很廣角的鏡
程 度 地 壓 縮了空 間 的
頭從高地俯瞰，這樣可以看到一些有趣的關係，比如工人儘管
深度。攝影作品在相紙上印出來，載體是最平最扁的面，那影像
只是一牆之隔，卻已經分隔在兩個不同的空間。空間之間有不
又能為這張相紙帶來多少厚度呢？這個問題就啟發了後來《內
同程度的公開和私隱，隔著鋼筋也許仍能通過對話交流，但人
部結構》的燈箱系列和《家務》中清潔電視機的錄像，去探討影
不能接觸，大件物品也不能傳遞。此時遠和近就不只是空間距
像和實物真實面積及內部空間結構的關係。在燈箱系列中，表
離的問題，而更多是溝通的阻隔程度。在建造過程中，不同程度
面影像反映的距離就是燈箱本身的厚度。把影像和載體的距離
的公開和私隱也會隨時間的變化而變化。建築師的設計會影響
拉到一樣，影像的信息跟載體本身一樣，不多也不少。
所有人的活動，用家是最 終受影響的人群，但其實建築圖則的 A+：剛才提到攝影的物理性，拍攝就如將瞬間定格。你們是如
約束力在建造的時候已經在工人身上生效了。
何捕捉攝影的時間性的？比如阿南你鏡頭下的雨傘運動。
從建築微觀放大 何：雨傘運動那個系列其實是從大量相片中篩選出來的。書沒 A+：你們在拍攝空間之外，也會關注空間裏的一些建築元素，比
有裝訂，因為整件事本身就是很散的，沒有什麼 特別的整體節
如阿南你會去拍攝插座。你做《物凝視》系列的出發點是什麼？
奏，如果釘起來 就會有順序和節奏，控制了讀者的閱讀方式。 主要的想法是這個事件是屬於大家的，大家都有自己感覺，所
何：其實攝影 師蠻 被 動的，只是從 世界中擷 取一些東西，雖 然
以編排更注重情感的共鳴多於單向的故事敘述。我在拍攝的時
會有主 動 觀察和 吸收，發 掘一些平常人不太留意的東西，但 歸
候不是採用記錄的手法，很多人已經做了這個工作。新聞性的
根究底仍然是被 動的。插座會引起一些主觀的視覺聯想，已經
紀實攝影只能展現某個時刻的事，而且很容易被操縱和誤讀。
完全撇除了其實用性。一開始覺得插座像 人 臉，引申到電影中
我覺得攝影不應停留在拍攝的瞬間，而是要帶來更多的信息或
的角色 注 視著 鏡 頭 以 外 的 一 些 人和 事，但導演 或 觀 眾 都 看不
作者個人的抽象想法，讓觀眾有更多思考的空間。
到，這 就 給人 無限聯 想的空間。其實《物凝 視》這個系列是由 油 街 實 現 的 邀 請 而再開始 的，當 時主 要 拍 攝 那 裏 的 插 座 和 水
A+：這個系列有很多是「事後」的情境，而不是最衝突的時候，
渠蓋。我覺得這些帶來生活方便的東西其實有點像我們的守護
有什麼寓意嗎？
神，於是就通 過作品把它們圖騰 化，好像一些宗教對大自然的 崇拜一樣。
何：大部分人拍攝雨傘運動所呈現的是不停的衝突和刺激。我 身在其中所見的並非如此，所以我是刻意去補充主流傳媒以外
A+：Bernd Becher和Hilla Becher會去拍攝水塔，也是一些很
的方面，用一種抽象的方式去保存記憶，也是一種嘗試吧。
「守護神」的類型，他們的作品感覺是非常直白、中立的記錄和 搜集。 何：如 果 沒 有 記 錯，他 們 拍 攝 水 塔 是 因 為 這 類 建 築 正在 消 失 中，而這 類 建 築又與他 們 兒 時的某些回憶有關連。攝影 是一 個 很 理 性、很現實的媒 介，但 是 在 藝 術 創 作 中，即 便再理性的百科全書式 創 作，內在其實 也有 很個 人 的 情感 和選 擇。否則就 只能 成
South: Most photography works concerning the Umbrella Movement displayed continuous conflicts and stimulations, but that was not what I experienced. What I did was a deliberate choice to fill up the missing pieces that were not portrayed by the mainstream media. I consider it an attempt to save my memory in an abstract way.
第五十八屆威尼斯國際美術雙年展 May 11 - Nov 24
的，無 論《 花 布 》或
分出來，在這個過程中私隱會變得越 來越多。在地盤裏一開始
A+: Is there a reason why many images in the series were the “aftermath” of the movement instead of the centre of conflicts?
First edition dates from 1895, the Venice Art Biennale is one of the oldest international biennales. Spreading across two main locations, Giardini and Arsenale as well as different venues around Venice, a huge number of national pavilions, collateral events and plenty of coinciding exhibitions are organised. Ralph Rugoff, the artistic director of the 2019 Venice Biennale, has adopted a “counterfeit” Chinese curse for the title of his iteration of the mega-exhibition: May You Live in Interesting Times.
第五十八屆威尼斯國 際美術雙年展 May 11 - Nov 24
A+：這很有趣，就好像從微觀的天台空間引申到對城市的認識。
座 建築 物如 何美輪 美 奐
完成的狀態也許更貼近建築師最原始的想法，這讓我想起杉本
58th Venice Biennale
哈瓦那雙年展 Apr 12 - May 12
鑼灣、中上環，而在新市鎮就不太可能。
完成的空間裏未必能感受到，我覺得這很珍貴。當時建築這種半
Space and Time
APR
13th Havana Biennale
列只有在新舊交替、建築有高有低的地區中才能做到，比如銅
的顏 色投 影在 展 覽 空間 裏，希 望 提 醒 大 家 成 功
為圖 錄 或 者 字 典，是 沒有感 覺的。 A +：E a s o n 的《 地 標 》和
Eason : I agree that photography is a passive creative process, just like the condition of Landmark and Rooftop. I was tired of the monotonous architecture in Hong Kong, but there was nothing I could do about it. I decided to change myself and to look at the city from a different perspective. It was double-passive: photography was passive in nature, and my creative motive was passive. After I de-
4
自己早前作品《天地人》
《天台》系列也是在建 築的 部分 中 發 掘 新角度。可以 分 享一下拍攝 時有什麼的想 法 08
6
呢？
月
JUN
Ljubljana Biennial of Graphic Arts
8
Aichi Triennale 愛知三年展 Aug 1 - Oct 14
Nakanojo Biennale 2019 日本中之條町雙年展 Aug 24 - Sep 23
Lofoten Int Art Festiva 羅弗敦國際藝術節 Aug 30 - Sep 29
01/02 何兆南，《空間與能量》，2017（大館當代美術館） 03 曾家偉，變化中的私隱：在牆兩端工作中的工人 在隔著牆溝通（M+視覺文化博物館） 04 何兆南，《物凝視》，2014 - 2018 05 曾家偉，《新地標 7》，2014 06 曾家偉，《天台 6》，2011 07 曾家偉，《花布 5》，2013 08 曾家偉，《內部結構 2》，2016 09 何兆南，《散景 拾叁》，2014 所有圖片除特別註明外均由藝術家及刺點畫廊提供。
月
SEP
Bergen Assembly
卑爾根集結 Sep 5 - Nov 10
盧布爾雅那平面藝術雙年展 Jun 7 - Sep 29
月
9
01/02 South Ho. Space and Energy, 2017 (Credit: Tai Kwun Contemporary) 03 Eason Tsang. Changing privacy: workers communicating through a future wall (Credit: M+ Museum for Visual Culture) 04 South Ho. Gaze, 2014 – 2018 05 Eason Tsang. New Landmark No. 7, 2014 06 Eason Tsang. Rooftop No. 6, 2011 07 Eason Tsang. Floral Fabric No. 5, 2013 08 Eason Tsang. Internal Structure No. 2, 2016 09 South Ho. Umbrella Salad XII, 2014 All images courtesy of the artist and Blindspot Gallery unless otherwise stated.
Göteborg Biennial
AUG
哥德堡雙年展 Sep 7 - Nov 17
Ural Industrial Biennial
烏拉爾當代藝術工業雙年展 Sep 12 - Dec 1
16th Istanbul Biennial 第十六屆伊斯坦堡雙年展 Sep 14 - Nov 10
3rd The 2019 Chicago Architecture Biennial 2019 第三屆芝加哥建築雙年展 Sep 17 - 2020 Jan 5
26/1/2019 ��11:52
artplus
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February / March 2019
Stage design with architecture
FEATURE
The architecture and the Theatrical Space of Jan Pappelbaum Tell any architect that a space has to be transformed from a living room to a newsroom, and then to a city hall – all within a few minutes – you will probably be informed that the mission is improbable. After all, in architecture, each space has to be specifically designed to match its nature and purpose. A living room, a newsroom, and a city hall are so different that the transformation from one to another is but a wild thought.
如何以建築設計舞台 淺談 Jan Pappelbaum 的 建築與舞台空間
Text 文 | Ray Leung Translation 翻譯 | Phoebe Cheng
Such transformation was, however, actualized in the Schaubühne by Jan Pappelbaum for Henrik Ibsen’s play An Enemy of the People. In the theatre, the stage could be a living room, a studio, a city hall, a castle, a battle field, or even a prison. To make transformation possible, a space has to be simplified and abstracted. In the Schaubühne’s An Enemy of the People, the stage was designed as a double-layered black box furnished by a second-hand table, chairs, and a couch. On the black walls were chalk sketches of designer furniture that created an atmosphere of a living room. The space was transformed into a newsroom following the rearrangement of furniture and backdrop, and later changed to a humble city hall with white paint applied in front of the audience. The designer craftily utilized the temporal nature of chalk sketches to alter the space with simple furniture rearrangement. At the same time, the black walls allowed the enclosed stage to extend to the entire theatre by the application of new paint and the lighting above the stall, making the space appear to be a city hall and inviting the audience to participate in the theatrical world. Among the works of Jan Pappelbaum, An Enemy of the People adopted a more abstract approach. The transition of scenes was cinematic and all it required was the transformation of one space to another. In Blasted, however, the transformation was surreal. Written by Sarah Kane, Blasted was a tough challenge for stage design. In the play, a bomb attack on the hotel left the space in ruins. The story began in a hotel room and ended in the same blasted room. It was difficult to display a blast on the stage, and even harder to design a destroyed space for performance. To address the challenge, Jan Pappelbaum made a realistic presentation of a luxury hotel room, and disintegrated it by stage technology and design. The external structure disappeared as the furniture remained on an empty stage while large amount of “debris” fell from above.
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3rd The 2019 Chicago Architecture Biennial 2019 第三屆芝加哥建築 雙 年 展 Sep 17 - 2020 Jan 5
The CAB - Chicago Architecture Biennial, founded in 2015, is the largest architectural art exhibition in North America dedicated to creating an international forum on architecture and urbanism through the production of exhibitions and public programs. As the manifestation of Mayor Rahm Emanuel’s vision for a major international architectural event and an outcome of the comprehensive cultural plan, the 2015 CAB invited the public to engage with and think about architecture in new and unexpected ways, and to take part in a global discussion on the future of the field through its constellation of exhibitions, full-scale installations, and programming. 於2015年開始舉辨的芝加哥建築雙年展（CAB - Chicago Architecture Biennial），是北美最大規模的建築藝術展覽，於2015年開始舉辨，由市長 Rahm Emanuel 策劃的國際建築盛事及城市文化策略，也是討論全球建築和城市領域 創新的國際盛會。是次的展覽將於歷史悠久的芝加哥文化中心舉行，並延伸到 整個城市的社區和公共空間。
ampost 2019_��_�.indd 8
15th LYON BIENNALE
Lubumbashi Biennale
第十五屆里昂雙年展 Sep 18 - 2020 Jan 5 巴西庫里蒂巴雙年展 Sep 21 - 2020 Jan 5
10th Gyeonggi International ceramic Biennale 第十屆京畿世界陶瓷雙年展 Sep 27 - Nov 24
10
月
XII Florence Biennale 佛羅倫斯雙年展 Oct 18 - 27
OCT
11
月
8th Performa 19
第 八 屆 行 為 藝 術 雙 年展 Nov 1 - 24
4th Jerusalem Biennale 第 四 屆 耶 路 撒 冷 雙 年展 Nov 7 - Dec 16
Singapore Biennale 新加坡雙年展 Nov 22 - 2020 Mar 22
Take Shakespeare’s Hamlet as an example. With over twenty scenes in the original script, it is hard to design a space that is compatible for all the required settings, especially when many of the scenes are intended as a transition. Is there a need to display all the scenes? In the version produced by the Royal National Theatre of London, the stage design evolved around the interior space of the castle so the main hall, the staircase, and the corridor, were presented in realistic details. In contrast, the “outdoor” scenes were symbolized by leaf litters. Such presentation undoubtedly created a visual spectacle, but the shift between realistic and symbolic scenes might inevitably leave the audience disconnected. Jan Pappelbaum and Thomas Ostermeier treated the play differently by breaking the norm of stage design. They applied technical installation in the production and displayed a self-standing “island” topped with special soil, a kinetic platform, and a metal frame 04 to support lighting and metal beads that were used for image projection. In this design, a performance stage was built within the theatre space.
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In this set-up, all the scenes in Hamlet, no matter it was the main hall, the graveyard, the riverside, the room, and the ballroom, could only be “visualized” by the actors’ performance. However, this presentation was more engaging. The “stageon-stage” design announced to the audience at the very beginning that this is a play. The audience would not be easily distracted by the set-up if they were not realistically created. Moreover, Hamlet was by nature a story within a story, so the special design added to the realism of the play. Thanks to the abstract design, no scene changes were required and so the play could be performed with a single set, allowing a seamless transition of time and space. Meanwhile, Jan Pappelbaum was precise and rigorous with material selection. He chose an edible soil to allow more carefree performance and to facilitate sprinkling, eating, and other activities that happened in the play. Trained as an architect at the Bauhaus University Weimar, he paid close attention to the properties of materials. In his stage design, he seldom used a material to disguise as another. Sometimes, a special material may solve performance or theatrical problems, but also brings about administrative or logistic problems. Using the edible soil in Hamlet meant the touring team had to have sufficient soil wherever they go. But judging from the outcome, the effort was definitely worthwhile. Jan Pappelbaum made use of stage materials to work for abstract ideas as well. Henrik Ibsen’s Hedda Gabler and Nora were both set in a middle-class family and based on a revolving stage, but the production gave very different impression to the audience. The stage of Hedda Gabler was decorated by a lot of reflective materials. In the center were a, large glass door, a glossy floor, and a large overhead mirror; then there was the concrete wall on the side. The stage of Nora was dominated with wooden rectangles that served as rooms, fur-
Singapore Biennale
盧本巴希雙年展 Oct 24 - Nov 24
Bienal de Curitiba
Throughout Jan’s sharing, the word “solution” was often mentioned. The word indicated that he perceived stage design as a problem-solving process rather than an expression. Hence the key to stage design lied in the way he transformed a theatrical question to a design problem. In some cases, the transformation was direct.
新加坡雙年展 Nov 22 - 2020 Mar 22
NOV
The Singapore Biennale, the first operated as one of a lineup of Singapore 2006 events commissioned by the National Arts Council and organised by SAM. It is a platform for international dialogue in contemporary art, positioning Singapore prominently as an international centre and regional thought leader in the field of visual art. Returning for its sixth edition, various programs will be held, ranging from panel discussions, screenings and experimental performances by contemporary artists. 在2006年首次開展，為期四個月的新加坡雙年展由新加坡國家藝術委員會委 托新加坡美術館主辦。第六屆雙年展期間將舉辦各種節目，包括美術館策展人 及四位當代藝術家的對談會；藝術家Vandy Rattana敘述家人在紅高棉時期的 遭遇的動態影像《獨白》及《喪禮》放映會；泰國藝術家Arnont Nongyao及 新加坡／英國Zai Tang的實驗音樂集，為新加坡藝術家提供藝術實踐的交流、 對話和展覽提供國際平台展示新加坡豐富文化歷史發展的特色。
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February / March 2019
FEATURE
01 Stage design for An Enemy of the People
06 The home in Nora looked like a display suite6
01《人民公敵》的佈景設計
06《娜拉》的舞台尤如示範單位
02 The living room was transformed into a city hall,
07 The design gave Hedda Gabler a formative and cold atmosphere
02 把客廳變成了公眾會堂的設計，空間由舞台延伸至觀眾席
07《海達 蓋伯諾》的設計予人一種冷酷感
08 The dark corner in Hedda Gabler allowed an extension of space
03《Blasted》的酒店房間以寫實的手法呈現
08《海達 蓋伯諾》的暗角使得空間得以延伸
03 A realistic presentation of the hotel room in Blasted
09 Richard III recreated the Globe Theatre
04《Blasted》以抽象的方式呈現爆炸後的廢墟
09《理察三世》的設計重現環球劇場 (Globe Theatre)
04 An abstract presentation of the ruins after the bomb attack in Blasted
10 The materials created an atmosphere that could be both old and modern
05 The design in Hamlet was closer to an installation
Credit: West Kowloon Cultural District / Schaubühne, Arno Declair
and the performance extended from the stage to the entire theatre
nished with Mies van der Rohe’s Barcelona Chairs, finished with a large aquarium and a runway-like platform. While the atmosphere in Hedda Gabler was cold, Nora had a warmer tone and somewhat resembled a display model suite. All these had to do with the material texture given to the audience and the performers. Hedda Gabler called for the reflection on the emptiness behind materialism among the middle-class, while Nora revealed the hypocritical nature behind this “model” family.
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Apart from the materials used in stage design, Hedda Gabler and Nora had a different approach in abstraction and spatial compression. The designer used large glasses, a long couch, and a concrete wall, to suggest the presence of a living room in Hedda Gabler. The set in Nora was in comparison a lot more realistic as there was a more clearly defined spatial structure between the furniture and different parts of the house. Due to spatial limitation, it was not possible to display all the rooms. The problem was settled by the entrances scattered around the structure, creating the illusion that there was more space beyond the visible set. Illusion was also applied in Hedda Gabler by hidden entrances. Such design allowed the performers to enter the stage in discreet and rendered the stage real.
recreated in the theatre. To make it more convincing, a used wooden flooring was selected for the construction of the stall, recreating the historical ambience. An earthy tone was adopted for the stage. The combination of a clay wall and metal structure allowed the atmosphere to be both old and modern. The structure was ambiguous in the sense that it could be the internal or the external side of a building. In this setting, although the background was somewhat realistic, it could be modified into a variety of scenes that the play required. Place a few pieces of furniture and the stage could become the main hall of the castle. Having a performer talk on top of the clay wall, the set became the city gate and the audience the crowd. This direct and simple approach allowed the play to perform smoothly with a single set. Jan Pappelbaum’s works discussed above all shared one quality: the designs were simple, and were often the most efficient way to solve the problems in the script and the performance. During a seminar that took place earlier in Hong Kong, he seldom referred to his design as a vessel to express ideas or represent symbols. Instead, he treated stage design as a solution that required logical thinking. Based on his knowledge in architecture, materials, and spatial structure, and through studying real-life settings, he tried to find the “largest common factor” in a scene – a process that naturally came to “subtraction.” Designed through subtraction, the scenes would become abstract and space universal and versatile. What remained constant was the design of each space was to serve the script, not the ego of the designer. Jan Pappelbaum’s humility was probably the best demonstration of the key in subtraction design: design was not an expression but a solution.
10 物料賦予設計一種既可是古代，也可是現代的感覺
05《哈姆雷特》：更像是裝置式的設計
圖片來源：西九文化區 / Schaubühne, Arno Declair
成為廢墟。故事由酒店的房間開始，經歷爆炸，並在這個被炸
台，相比而言具象得多，傢俱與空間的間隔更清晰。不過設計
毀的「房間」中結束。要在舞台上呈現爆炸本已不易，要呈現
師不可能把一個家的所有房間全數展示，唯有透過設置大量不
經歷破壞後的空間，並讓演員能在其中演出更為困難。但 Jan
同的出入口於結構的不同位置，營造出所見空間以外還有其他
Pappelbaum 在設計《Blasted》的舞台時，先用了極為寫實
空間的錯覺。如此的錯覺，在相較簡約《海》的設計裡，設計
的方式呈現一個高級酒店的空間，然後憑舞台的技術與設計，
師則透過製造多個暗藏的出入口，讓演員能夠在即使有巨大的
把這個空間「解體」，空間的結構恍如爆炸般飛裂開展，剩下
鏡子下，仍能在觀眾不知不覺間進入舞台，並使得舞台仿如另
空蕩蕩的舞台和一些傢具，以及從上方落下大量的「碎片」。
一個真實的世界。
在 Jan 的分享中，他很常提及 “Solution＂ 一字。這個字的背
要把觀眾置於另一個真實，除了舞台的設計以外，劇院的設
後暗示的，是他視舞台設計，為一種「解決問題」而非「表現
計也能營造出很不一樣的氛圍。這亦即是透過建築設計，以影
(expression)」。如果從這種方向去理解的話，Jan 的舞台設計
響舞台的設計與呈現。Schaubühne 在籌備《理察三世》這個
的關鍵，是在於他如何讓戲劇的問題 (question) 變成一個設計
演出時，作為舞台設計總監的 Pappelbaum，與創作團隊已商
的問題 (problem)。，而有些時候，這種轉換是非常直接的。
討，希望嘗試把環球劇場的帶進 Schaubühne 中。《理察三 世》的舞台設計是連同觀眾席一併考慮的。半圓形突出的舞台
例如是莎士比亞的《哈姆雷特》。此劇原著中出現之場景超過
為主演區，配以長方形的空間作為背景；觀眾席則特意重新設
二十多個。要設計出一個能承載這麼多場景的空間似乎很難，
計，行與行之間較一般觀眾席陡斜，使得每一行的觀眾就像站
而當中不少場景也只是作為「過場」交代。那又是否真的需要
在舞台前般。兩者配合起來，就像莎士比亞當時的環球劇場一
全部呈現？英國國家戲劇院的《哈姆雷特》，舞台設計以城堡
樣。同時，為了更準確地予人這種感覺，觀眾席所選用的物
之室內為主軸，寫實地呈現城堡中的大廳與樓梯、走廊等，
料，亦是經過深思熟慮後，找到一種特別的、使用過的木板材
同時運用大量枯葉等以營造「室外」的場景。這種手法固然
質，把環球劇場的歷史感也呈現。
營造出一種奇觀
(Spectacle)，然而游走在寫實與「虛」之間
時難免會予觀眾一種抽離感。而 Jan Pappelbaum 與 Thomas Ostermeier
的《哈姆雷特》，卻打破了舞台的「設計」，以
一種近乎技術裝置的方式設計，舞台上呈現一個self-standing 的 「島」，上面放有特別挑選過的泥土，加上一個可移動的 平台，以及一個金屬架，用以掛起時而成為投映幕的金屬珠簾 和舞台用的燈。可以說，這個設計更像是把一個表演的舞台， 建立劇院的舞台空間之中。 如此一來，一切《哈》中的場景，比如是城堡的大廳、墓地、 09
河邊、房間、宴會廳等，都只能抽象地透過演員的表演來「呈 現」。但有趣是，如此的方式，卻讓觀眾更投入於演出。尤如 舞台上的舞台的設計，使得觀眾從一開始便把演出視作一種演
舞台演區，則以泥土
出。不以寫實主義去呈現那些空間的好處，在於觀眾不會因此
作為主調，配以黏土
「出戲」；甚至乎，因為《哈》的劇本本身已具有一種「戲中
牆以及金屬的結構，
戲」的性質，如此的空間，使得戲中的世界更為真實。這也是
予人一種既可以是現
受惠於如此抽象化的設計，同時亦可以使得整個演出以一個佈 如果跟一個建築師說，想把某個空間，在短短數分鐘內，由一 個家庭客廳轉變成為報社工作室，然後再以數分鐘變成一個公 眾禮堂般的空間，我猜建築師必然會認為，那是一種不可能的 任務。畢竟，對建築師而言，每個空間必須被設計成為一個具 體的，符合其用途的特質與性格的空間。客廳、報社工作室與 07
社區會堂，是三個如此不同的空間，如此的變換於建築而言是 瘋狂的。
公敵 (An Enemy of the People) 》中，舞台設計師 Jan Pappelbaum 的處理。
堂、城堡、戰場、監獄……要達成這些轉換，就必須要把空間 簡化與抽象化。在 Schaubühne 的《人民公敵》中，舞台尤如 一個兩層的黑盒子，上面放著二手桌椅與沙發等傢具。透過在 黑色的牆上以粉筆繪畫名設計師傢具等，營造出客廳的感覺； 然後透過移動桌椅的擺設方位以及後方的背景，使客廳又變成 了報社辦公室。再來是把牆壁現場髹上白色油漆，化身成簡陋
2019
Art Fairs 2019 藝博會
公眾禮堂的空間。在此，設計師高明地運用了粉筆賦予空間的 一種「暫時性」，使得空間可以透過簡易的傢具設定變裝；同 時，運用黑色的牆壁，又讓舞台能藉著顏色的轉換，以及配合 觀眾席的燈光，使本來封閉的舞台，頓時延伸至觀眾席，戲劇 中的世界由舞台延伸，使觀眾進入了戲劇的世界當中，同時亦 使整個空間猶如一個公眾禮堂。
的外部，又可以是內
同時，Jan Pappelbaum 對於物料有著一種嚴謹的執著。為了
部。這使得佈景雖
尋找合適的泥土，讓演員能更自由的運用這些泥土作表演，他
然具備某種寫實感，
特意挑選了可以食用的泥土，以配合演出中有酒水、食物、
卻同時能表現多種不
以及各種與泥土有關的情節。曾在包浩斯威瑪大學修讀建築的
同的空間，以切合
理，從結果而言是非常值得的。 在選取材料上，Jan Pappelbaum 同時也會為抽象化的概念服 務。比如是《海達 蓋伯諾》與《娜拉》，兩部同是易卜生的 劇目，同樣也是以中產家庭作為背景，同樣也是以旋轉舞台 作為基礎。可是兩者卻予觀眾非常不同的觀感。《海達 蓋伯 諾》中以大量的反光物料，比如大幅的玻璃門作為主，地板 也是反光的物料，配以懸在舞台上方的大鏡，以及一幅混凝 土牆作為建築的主體。《娜拉》則以木材作為主軸，配以名師 Mies van der Rohe 的 Barcelona Chair，以及不同的矩形堆 疊組成的不同房間，有一個大的魚缸點睛，以及一條猶如時裝 秀的舞台 runway 的平台。《海》予人的感覺冷冰冰；《娜》 卻予人比較溫暖，以及較像「示範單位」的感覺。這些莫不與 中產物質追求以後還存在的空虛；《娜》則揭示那種「溫馨」 與模範家庭背後的虛假。 《海》與《娜》兩者的不同不單是物料，在抽象化與空間的 壓縮上，亦有不同的程度。在《海》中，設計師僅以大幅的玻
到一個在舞台上極難呈現的場景：一個酒店受到炸彈的襲擊要
璃、長沙發與混凝土牆，組合出「客廳」的意象。《娜》的舞
義大利博洛尼亞國際當代藝術展 Feb 1 - 4
FEB
3
月
The Armory Show 軍火庫藝術博覽會 Mar 7 - 10
Qade Solo Project
Art Fair Tokyo
Art Rotterdam
Art Dubai
Material Art Fair
Art Central in Hong Kong
1-54 Contemporary African Art Fair
Art Basel in Hong Kong
當代藝術設計個別展 Feb 6 - 10
墨 西 哥 M at er i al 藝 術 博 覽 會 Feb 7 - 10
摩 洛 哥 1:54當 代 非 洲 藝 術 博 覽 會 Feb 23 - 24
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東京藝博會 Mar 9 - 11 杜拜藝博會 Mar 20 - 23
香港當代藝術展 Mar 27 - 31
MAR
成城堡中的大廳；演 員站上黏土牆上第二
層的結構，則猶如站在城門向群眾講話。這樣的處理，可以說
現實的轉換。由 Sarah Kane 編劇的《 Blasted 》，當中涉及
Arte Fiera Bologna
的傢俱，舞台即可變
政或物流上的問題。《哈》一劇所用的特選泥土，便使得他們
間跳到另一個空間。另一作品《 Blasted 》則展現另一種超乎
月
需求。只消放置適量
管能有效解決表演或戲劇的問題，卻會因此製造出其他諸如行
的一部。場景之間的轉換轉像是電影的剪接，純粹是由一個空
2
《理察三世》劇本的
甚少會運用物料去「裝扮」成其他材質。有時選取的物料，儘
物料予觀眾以至演員的質感有關。《海》的故事，反思是對於
《人民公敵》可以說是 Jan Pappelbaum 眾多作品中較抽象化
荷蘭藝術鹿特丹 Feb 7 - 10
ampost 2019_��_�.indd 9
既可以是某建築物
巡迴演出時必須預備足夠的泥土以作表演之用。不過這樣的處
在同樣的舞台空間上，可以被設定為客廳、工作社、社區會
When it comes to creating an alternate reality for the audience, the design of a theatre can also create a unique atmosphere. Architectural design affects the presentation of the stage. During the preparation of Richard III, Pappelbaum, as Head of Stage Design, discussed with the creative team to bring the Globe Theatre into Schaubühne. The stage design of the play therefore considered the audience from the beginning. A semicircular space was designed for the main performance area with a rectangular background. The stall was redesigned so that each roll was steeper than usual, giving the audience a feeling that each of them was standing in front of the stage. Combining the design elements of the stage and the seating, the Globe Theatre at Shakespeare’s time was
感覺。舞台看上去，
出的時間與空間能夠無縫連接。
他，自然因此對於物料的特性有一種執著。在建構舞台時，便
然而，這正是德國 Schaubühne 劇院的作品，易卜生的《人民
08
代，也可以是古代的
景完成，沒有了所謂的「場景轉換 (scene change)」，使得演
是選取了最直接與簡約的方式，造出能以一景到底演完《理察 三世》的舞台。 談過這麼多 Jan Pappelbaum 的作品，當中都有一個共通點。 這些設計其實都非常簡約，而且都是希望透過最有效率的方 式，去解決劇本與表演的問題。在他早前來港的座談會中，他 甚少提及他的設計要「表達」甚麼意念或想法，又或是象徵什 麼，反倒是更多把設計視為一種解答方案。而尋找這些解答方 案的過程，則是一種非常邏輯性的 思考。根據他對建築、物
料以至空間結構的認識，並透過參考不同的實際場景，試 圖找出劇本設定的場景的「最大公約數」。這個過程，自 然是一種「減法」。透過減法作設計，必然的結果就是場 景的抽象化，以及使得空間具備「通用」的特質。不過當 中總是不變的，是這些空間，都不是為「設計師」之名服 務，而是為了劇本服務。 Jan Pappelbaum 的謙虛，也許 正好示範減法設計中最關鍵的一環：設計最終不是為了表 現，而是解決問題。
The Armory Show 軍火庫藝術博覽會 Mar 7 - 10
Known as the International Exhibition of Modern Art, the Armory Show was a show organized by the Association of American Painters and Sculptors in 1913. It was the first large exhibition of modern art in America and one of the many exhibitions that have been held in the vast spaces of U.S. National Guard armories, introducing American artists, who were accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. 一年一度的紐約軍火庫藝術博覽會創立於1994年，致力展示世界上最重要的 二十至二十一世紀現當代藝術及創新的藝術作品，挖掘和扶持藝術家。它也支 持藝術展覽館活動，成為了推動視覺藝術的交流和對話的場地，是紐約市的心 臟地帶不可錯過的藝術活動。
香港巴塞爾藝術展 Mar 29 - 31
26/1/2019 ��11:52
artplus
10
February / March 2019
A Literary Garden in Ruins
FEATURE
Text 文 | Roan Ching-yueh Translation 翻譯 | Bernard Yeung
廢墟裡的文學花園
I once wrote a book of literature Displaced Moments, which began
from reality; while ruins, flashing like terminal lucidity, directly
ural changes will certainly create more wounds than one can han-
beauty of being displaced. Throughout history, East or West, peo-
with and was developed from ruin spaces. It was intended as a
challenge the falsehood of reality. A direct confrontation with
dle. Cities will lose their original organic characters and eventually
ple walked on mountains paths in solitude with great determina-
work of literature inspired by the essence of space. In retrospect,
death enables deeper philosophical meanings of life.
become samples of standard mummies.
tion. Their long shadows extended into the bottom of the valleys,
it was not much of a rarity in history that the dark side of life, as
In fact, ruins are everywhere whether one sees them or not. Tsai
In ‘The Shooting Range and the Cemetery’, another prose poem,
against many nameless dark spots. Step by step, they disappeared
dark as ruins, would become a creative subject matter. One would
was able to see the otherworldly beauty of the ruin in the magnifi-
Baudelaire wrote about a café with a view to the cemetery. The
into the invisible truth in the multifarious forest.
easily think of the works of Hieronymus Bosch the painter, Li He,
cent Louvre, and presented to us a hidden paradise. Tsai seeming-
protagonist was unknowingly attracted and entered… ‘drank a
Fortunately, we had a glimpse of a corner of the shadow at the bot-
Charles Baudelaire, Fyodor Dostoevsky, Ryunosuke Akutagawa
ly demonstrated how ruin was an aesthetic, a philosophy of life, as
glass of beer in front of the tombs, and slowly smoked a cigar.
tom of the valley, and could thus imagine the gesture of footsteps.
and many more. They formed quite a constellation of precedents.
well as a perspective different from the secular values, a path that
Then, fantasy took him down to this cemetery, where the grass
Therefore, the gaze at ruins is like a walk with a candle at the
What did these artists really see in the dead ruin spaces? Let us
cuts through the prosperity of human world.
was so tall and so inviting, and where such a brilliant sun reigned.’
bottom of the valley at night, in search of the beauty of being dis-
start with Baudelaire. This is what he wrote in his prose poem
Sometimes, buildings with a special aura could be born like ruins.
As the protagonist revelled in the fantasy, his mind was interrupt-
placed. It is a tribute to the people who left behind the shadows
‘The Double Room’:
It might sound a bit too abstract. Putting in other words, these
ed by the abrupt gunshot from the nearby shooting range. Baude-
of light, worship of those who are up at a treetop in solitude, and
buildings deliver a sense of vicissitude even right after the com-
laire continued:
contemplation why we are still in the world of the devil. Lonely Christ, seeing the lily blooming in the valley, was shocked
No! There are no more minutes, there are no more seconds! Time has
pletion of construction. I especially respect people who could
disappeared; It is Eternity that reigns, an eternity of delights!
build buildings ‘like ruins,’ or deal with the notion of time with
Then, under the sun that scorched his brain, and in the atmosphere
and stunned… He held up the flowers in His hands, closed His
But a terrible, heavy strike, was heard from the door, and, as in in-
ambiguity. Director Tsai Ming-liang, who managed to turn the
charged with the burning perfumes of Death, he heard a voice whisper-
eyes and smelled, then He smiled like the lilies in white.
fernal dreams, it seemed to me that I was being hit in the stomach by
extravagant Louvre into a mysterious dark ruin, is one of them.
ing from the grave where he sat. And this voice said, ‘Cursed be your
a pickaxe.
Only through these creative minds could we have a closer un-
targets and your rifles, turbulent living ones, who care so little for the
Indeed, it was Shi Xi, Li He, Tsai Ming-liang, Baudelaire, and
And then a Spectre entered.
derstanding of the hidden reality, and see a wider future universe
deceased and their divine rest! Cursed be your ambitions, cursed be
many other who could conceive art through space (such as ruins)
without the constraints of the present.
your calculations, importunate mortals, who come to study the art of
that show a new dimension of time in architecture. Then the life
With an opened door and the arriving spectre, we suddenly sense
Modern architecture never falls behind when it comes to the
killing near the sanctuary of Death! If you knew how easy the prize is
that we live may have a brand new perspective on time and space.
the destined disappearance of time and delight in the inescapable
pursuit of novelty and excitement. But when it comes to the un-
to win, how easy the goal is to touch, and how everything is nil, except
space. This destruction of happiness has been the eternal dialectic
derstanding of eternity and the meaning of death, architecture
Death, you would not tire yourself so much, laborious living ones, and
of time and space. It is an eternity that is invisible in new phenom-
appears to be hasty, evasive and powerless. Therefore, compared
you would trouble less the sleep of the dead…
ena, and can only be perceived in deadness. As a consequence,
to other forms of art, modern architecture could be too secular,
space is given a certain indescribable heaviness. The joy of new
ephemeral and superficial. For example our cities: they should be
life can only be truly manifested through the weigh of death. The
like natural forests, where all trees are constantly growing and dy-
two are interdependent and symbiotic.
ing (life is death, death is life). But we have rejected the natural
To make my literature book of ruins, I carefully photographed
binary of life and death, and refused to show decay and death in
some ruins in northern Taiwan. Often I was questioned why I shot
our cities.
those ugly, dirty (and possibly haunted) dilapidated buildings. It
Let us read a poem by Li He and see how he inspired the meaning
was hard to explain, and I thought of Tsai Ming-liang’s film Face,
of death in space:
This was the poet’s protest against the living ones’ constant interference of the dead with all sorts of unreasonable facts in daily space! At the beginning of Displaced Moments, I wrote a short text as an attempt to describe a special feeling of space and time displacement in ruin spaces, and the significance of such feeling for life and creative practice. The text could be a response to Baudelaire’s uncertain state between reality and dreams in the cemetery. My text goes like this:
which set its scenes in the Louvre. As the Louvre had been sanctified by art and history, and en-
Anxiety has pulled my bowels straight tonight.
hanced by the glass pyramid of I. M. Pei, Tsai understood the in-
Cold rain and sweet souls the versifier mourns.
evitable difficulties of filming in such a location. Thus he decided
Ghosts from autumn graves chant the poems of Bao Zhao.
to portray the place as a ruin. The Louvre’s own grace and glory
Bitter blood over millennia turns green underground.
It is becoming more and more clear that absentmindedness, or be-
was deliberately left aside, neither praised nor condemned. The
ing displaced, is a state I want to enter. A book that I read tonight mentioned what Shi Xi, the late Ming Dynasty monk-painter, wrote on a painting:
building was almost restored to its naked original form.
Li He from over a thousand years ago saw the abrasion of time
In a changing world, it is home. Asking why I am here, not answering
Face was meant to be a tribute to Tsai’s private memories about
in life: recollection, thought and nostalgia for the remnants and
so. Seeing from above, sitting on a high stalk. Living without worries,
films. A private memory about art as such could be a combination
scars. He fully understood the meaning of some deceased would
nesting up high. They say I am dangerous. I say you are devil.
of vicissitudes, pity and sweetness. This mixture of sweet and dark
still exist in the remains of life.
heaviness was perfectly in line with ruins loaded with memories.
For example, the first architectural ruin that I photographed was
They say I am dangerous. I say you are devil. How wild and
With Tsai’s approach, the highly ornamental Louvre was stripped
Fuhe Cinema where Tsai filmed Goodbye, Dragon Inn. The lo-
self-indulgent it was!
back to a water-clear state, cool but genuine. Perhaps this could be
cation of this cinema was very strange. In a forty-odd year old
Brave enough to say this, he must have been completely confi-
redemption from the excessive praise and favor!
three-storey building, the first and second floors were a normal
dent about seeing a certain displaced condition that other people
market and the third was a residential perimeter ring. Separated
could not see. Even accused of being dangerous, he would not
Breaking down sanctity and packaging should be an unavoidable
by an outdoor corridor, the cinema lies at the centre.
care. Instead, he would laugh at other people up from a treetop.
mission of art creators. The true value of architectural practice
Ordinary and aging spaces like this will disappear unless they
However, there must have been significant loneliness and sorrow
is in the everyday life and reality, instead of seeking admiration
could maintain the balance of life cycle, like a forest where a new
at the same time.
and worship. Sometimes, classic architecture could be so detached
tree would be born as an old one dies. Imposing control over nat-
There are more than a few people like Shi Xi who have seen the
4
月
Sp-arte in San Paulo
APR
5
月
紐約斐列茲藝 術 博 覽 會 May 2 - 5
Market Art Fair
Photo London
瑞典MAR K E T藝術 博覽會 Apr 12 - 14
May 16 - 19
Art Brussels
香港當代藝博 會 May 17 - 19
artmonte-carlo
摩納哥蒙地卡羅藝術 博覽會 Apr 26 - 28
Art Beijing 藝術北京 Apr 26 - 29
ampost 2019_��_�.indd 10
Affordable Art Fair Hong Kong
6
月
Liste Art Fair Liste青年藝 術 藝 博 會
Photo London May 16 - 19
Founded to give London an international photography event, Photo London is a place to encounter the most innovative emerging artists, new work by established masters and rare vintage pieces, befitting the city’s status as a global cultural capital. Now in its fifth edition, it presents the Discovery section for the most exciting emerging galleries and artists as well as an original Public Programme bringing together special exhibitions, installations, a Talks Programme .
Frieze New York
聖保羅藝術展 Apr 3 - 7
布魯塞爾藝博會 Apr 25 - 28
MAY
JUN
Photo London是英國重要的國際攝影展，旨在開闢新的攝影觀眾，展示新興 攝影人才和展示復古優秀攝影作品。攝影博覽會除了讓各界人才齊聚Photo London交流攝影資訊，更邀請倫敦最優秀的藝術人才及策展人，帶來世界頂 尖的攝影作品，並得到美術館、拍賣行、畫廊到社區藝術中心等各界的支持， 倫敦主要博物館和拍賣行等各夥伴組織都舉辦相關活動以向藝術攝影致敬。
Liste Art Fair
List e 青年藝術藝博會 Jun 10 - 16 Started in 1996, LISTE has developed into one of the most important fairs for mostly new, to some extent a middle generation of galleries, introducing young galleries with primarily emerging, as yet little known artists. LISTE also promotes new galleries to an international expert public, serving as a meeting place for members of the international art world who are interested in this new generation of galleries and artists. LISTE於1996年由一群青年畫廊家成立，逐漸成為世界當代青年藝術 重要的博覽會之一，並持續贊助與推廣青年藝術家以及畫廊。除此之 外，LISTE也介紹新的畫廊給世界各地的觀眾認識，刻意將參賽畫廊數 量維持在66家，強調畫廊之間性質的差異，建立博覽會引人入勝的特 色。
Jun 10 - 16
26/1/2019 ��11:52
artplus
11
February / March 2019
FEATURE
我曾經寫了一本從廢墟空間做出發、並滋生而成的文學書籍
那時，在燃燒著他腦子的陽光下，在由強烈的死亡之芬芳，
《惚恍》，意圖嘗試從空間的本質，來生產出文學的作品。事
所做成的大氣中，他聽見了一個呢喃聲，來自於他置身其上
後其實仔細想起來，在歷史中懂得將這樣陰暗如廢墟的人生面
的墳墓裡。那個聲音在說：「但願你們的鵠的和步槍被詛
向，作為創作題材的創作，確實也不是那麼少，可以立即想到
咒，喧譁的生者，你們是那麼不關心死者和他們神聖的安
Bosch）、李賀、波特萊爾、杜
息。但願你們的野心、你們的計畫被詛咒，急性的人們，你
斯妥也夫斯基、芥川龍之介等，算來也是琳瑯滿目成樹成林。
們竟然來到死亡的聖殿附近學習射殺術！假使你們知道獎品
那麼，他們在這種死寂的廢墟空間裡，究竟見到了什麼呢？
是多麼容易被獲得，射擊中的又是多麼容易，以及一切都
先看看波特萊爾吧，他在題名「雙重的房間」散文詩裡，這
是那麼空無，除了『死亡』，你們便不會如此使自己精疲力
的如畫家波西（Hieronymus
竭；勤勞的生者啊，你們便不會那麼頻繁地來驚擾那些死者
樣寫道： 其實，廢墟本來就是無所不在，端看自己能否視見，如同蔡明
的睡眠……。」（2）
不，不再有分，不再有秒！時間消失了；是永恆在統治，幸
亮可以在羅浮宮的堂皇裡，見出別有洞天的美麗廢墟，然後呈
福之永恆！
獻出埋藏山中的一座桃花源。蔡明亮彷彿在告訴我們，廢墟本
是詩人對於在日常空間裡，生者以各種不合理的現實，對於
但是，門上發出了一下可怕的、沈重的敲擊聲。一如在惡夢
是一種美學、一種人生哲學，也是不同於世俗價值的視角，可
死者不斷做干擾的對抗吧！在《惚恍》的開頭，我寫了一篇
中，我像是被人用鶴嘴鋤在胃上打了一下。
以穿過人間繁華的悠然蹊徑。
短文，試著描寫在還存留於廢墟空間裡，某種特殊的時空惚
然後，一個幽靈進來了。（1）
有時，某些具有特殊氣息的建築，完全可以生來就如廢墟。
恍感受，以及這感受對生命與創作的意義，也算是回應波特
這似乎聽起來有些太抽象，若是換個說法的話，就是才一剛
萊爾在墓園裡，那種猶如遊走於現實與夢境間的未明狀態。
藉由被打開的門與進來的幽靈，讓我們在無可逃脫的空間裡，
蓋好，就已然有著老舊的滄桑氣味。其實，我特別尊敬能將
我的文章是這樣寫著的：
忽然感知到時間與幸福的必然消逝。這種幸福的破滅，本是時
屋子蓋成「廢墟一般」、或是能把時間處理得有飄忽深度的
間與空間的永恆辯證，也是新生現象裡見不到、只能因為死寂
人，譬如像蔡明亮這樣能讓浮華的羅浮宮，變身成神秘幽暗
越來越明白，恍惚（或是惚恍）原來是我一直想進入的一種
而得感知的永恆，所以賦予空間某種難以描述的沈重感。因為
廢墟的導演。
狀態。尤其、今夜讀著某本書，提到明末削髮為僧的畫家石
新生的喜悅，本就是必須藉死亡的重量，才得以真正彰顯，二
因為唯有透過這樣的創作者，我們才可真正貼近看見某些隱身
溪，在一幅畫上題寫著：
者是相依共生的關係。
的現實，並且能不受當下時空框綁，眺看更遼闊的宇宙天地。
為了這本廢墟的文學書，我認真拍過一些臺灣北部的廢墟，因
現代建築在追逐新奇與興奮感上，從來就完全不落人後，而
此常引來質疑，問我為何要去拍那樣又醜又髒（而且可能還鬧
相對在思考時間的永恆、死亡的意義上，一直顯得有些輕
鬼）的破爛建築物呢？原因難以明述，就想到蔡明亮以巴黎羅
世界婆娑，安居是它，問我來甚，不說云何，處上視下，身 處高柯，栖息無慮，迺在高巢。人說我險，我說你魔。
率、逃避與無力應對，因此現代建築在作為藝術的意義上，
浮宮為背景，所拍攝的影片《臉》。
往往顯得過於世俗與短暫輕薄。譬如我們日日生活的城市，
蔡明亮面對已經被藝術及歷史分別聖化，以及被貝聿銘的玻
本來也當如所有的森林一樣，可以生生不息更易不斷（生即
璃金字塔，所額外加持的這座建築物，明白拍攝羅浮宮這樣
是死、死即是生）的超越時間，卻因為我們抗拒這樣的事
的場景，必然有著的困難。於是，蔡明亮決定把羅浮宮拍得
實，因此不能真正讓城市的衰老與死亡顯現。
像一座廢墟，對於羅浮宮原有的聖寵，與世間所歌頌環抱的
先看一段李賀的詩吧！看他怎樣啟發死亡對空間的意義：
榮光，不但蓄意地不褒不貶，甚至還全部還原到近乎赤裸裸 的荒蕪原形。
疊，既且私己甜美又可陰暗深重，完全符合可以承載許多過
遺斑殘跡的追憶、思念與留戀，因為他完全明白有些死者的
包裝著層層虛無矯飾外衣的羅浮宮，可以回歸到一種清晰若
意義，依然存留在此刻生命的遺痕裡。
水流的狀態，以著冰冰也涼涼的本態現身，算是對過度蒙受
石溪這樣見過惚恍之美的人並不稀少，東西方歷史掃看去， 一個個傴僂、孤獨又堅決的背影，不回顧地獨走山徑，抽拉
因此，對廢墟的瞻顧，是秉燭夜尋某種惚恍之美的谷底行， 是對留存閃絲光影腳步者的致意，對獨踞孤枝險者的禮膜， 與對自身為何仍身在魔界的思索。 孤獨的基督，見到山谷裡兀自綻放的百合，因心驚而恍
譬如，我當年拍的第一個廢墟建築，是在蔡明亮拍「不散」
恩寵現實的救贖吧！
樹端反嗆眾人為魔。但是，這其中的寂寥哀傷也必深遠。
幸而，我們仍得窺見谷底黑影一角，藉之揣想腳步者姿容可能。
千餘年前的李賀，看見了時間在生命裡的刻痕，那是一種對
往記憶的廢墟場景。而且，蔡明亮這樣的處理態度，讓本來
實，因此即令被稱說為險，也一點不以為意，反而能繼續蹲踞
不可見的事實。
秋墳鬼唱鮑家詩，恨血千年土中碧。
而這樣關乎藝術的私記憶，本是滄桑、哀憐與甜蜜交織重
敢於如此，應當是完全自信見到眾人所未能見到的某個惚恍事
長影照落谷底，襯映出許多無名的黑點，逐步隱入龐雜山林
思牽今夜腸應直，雨冷香魂弔書客。
《臉》的本意是要對蔡明亮一路行來的電影私記憶作致敬。
人說我險，我說你魔。這是多麼狂放又自甘的蒼冷啊！
的中和福和戲院，這戲院的位置十分奇特，是位在一個由傳
惚，……於是，他雙手捧花，閉眼嗅聞，臉上綻出百合般白 色的微笑。
本來破解聖性與包裝性，就是藝術創作者不可迴避的職志，
統市場、大約四十多年前建的樓房三樓。然而在底層的一二
尤其建築創作真正的價值，即是在於日常與現實，而非特殊
樓，是常見的回字形市場平面，三樓卻在四圍環出一圈的住
確實，正就是石溪、李賀、蔡明亮，以及波特萊爾……，這樣
的被瞻仰與朝拜性。畢竟，經典建築有時不免會脫離了人間
家，再隔著露天巷道的空間，才是中央龐然的電影院。
許許多多能夠從空間（譬如廢墟）去遐想藝術的人，才能讓具
現實，因而自我漂浮離地三尺，廢墟景象有如迴光返照般的
這樣平凡且逐日老化的空間，將會成千上萬地陸續消逝，若
象的建築，展露出來時間的新向度，於是我們存在的生命，也
出現，直接破解與挑戰這樣虛假性的現實，猶如死亡般的直
是不能如森林一樣，在每一株老樹死去後，必自然有延續生
有了瞻望時空的全新視野。
視，反而讓生命有了可以哲思的深層意義。
命的小樹接續生長，維持生老病死的均衡。反而，如果強加 控制自然的更替，必會留下許多難以處理的癱爛瘡疤，讓城 市失去本來當有的有機個性，終將成為樣版的木乃伊。 在另一篇叫「射擊場和墓園」的散文詩裡，波特萊爾寫到 一個可以觀賞墓園的咖啡室，主角不覺間被吸引地走了進 去……：「在墳墓對面喝了一杯啤酒，抽了一根雪茄煙，徐 緩地。然後，一時的意欲促使他走向墓園，那兒的草那麼 高，那麼富於誘惑力，在那兒，統治者是富麗的太陽。」當 主角正陶醉其中時，卻被附近射擊場的槍聲，突兀地打斷了 思緒。波特萊爾這樣繼續寫著：
All photos are taken by the author. 所有圖片均為作者拍攝。 註1：波特萊爾著，胡品清譯，《巴黎的憂鬱》， 志文出版社1998版，p.37. 註2：同上，p.142 – p.143.
9
Scope Basel 巴塞爾 Scope 藝博會
Jun 11 - 16
Art Basel in Basel
Cosmoscow International Contemporary Art Fair
瑞士巴塞爾藝術展 Jun 13 - 16
8
月
SP-Arte/ Foto in San Paulo 聖保羅攝影展 Aug 22 - 26
Code Art Fair
丹麥Co de藝術設計博覽會 Aug 29 - Sep 1
Chart Art Fair
丹麥Cha r t藝術設計博覽會 Aug 30 - Sep 1
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月
俄羅斯C os m os cow藝 術 博 覽 會 Sep 7 - 9
AUG
Contemporary Istanbul 伊斯坦布 爾 當 代 藝 術 博 覽 會 Sep 12 - 15
Beirut Art Fair
黎巴嫩貝 魯 特 藝 術 博 覽 會 Sep 18 - 22
PHOTOFAIRS Shanghai 影像上海 藝 術 博 覽 會 Sep 20 - 22
Art Rio
里約藝術 博 覽 會 Sep 19 - 22
SEP
Contemporary Istanbul
伊斯坦布爾當代藝術博覽會 Sep 12 - 15 Contemporary Istanbul is a 4 day event held in Istanbul, Turkey. This showcases product from Gifts & Handicrafts industry and art piece of galleries, independent artists, architecture and design studios, maker spaces, game labs, digital art collectives and project spaces. 伊斯坦布爾當代藝術博覽會不局限於土耳其當代藝術，更放眼世界的國 際化展示平臺。在伊斯坦布爾當代藝術博覽會上，參觀者既能欣賞到具 有地區特色的來自中東、黑海、俄羅斯、巴爾幹、以色列和埃及等國家 和地區的藝術作品，也不乏歐洲、美國和亞洲各地的創作。博覽會以當 代藝術為契機，營造了一個自由便利的交流平臺。
KIAF Seoul
韓國國際藝博會 Sep 26 - 29
10
月
OCT
Fine Art Asia 典亞藝博 Oct 4 - 7
Frieze London
倫敦斐列茲藝博會 Oct 3 - 6
ASIA NOW
巴黎亞洲藝術博覽會 Oct 16 - 20
ARTMUC
慕尼黑藝術博覽會 Oct 17 - 20
26/1/2019 ��11:52
artplus
12
February / March 2019
The Art of Architecture
FEATURE
建築的藝術 Olafur Eliasson 的三個案例
Three Projects by Olafur Eliasson Text 文 | Derek Chien Translation 翻譯 | Bernard Yeung
As artists, designers, and architects increasingly move out of their realms of specialized practice into neighbouring creative fields, their cross-disciplinary perspectives often result in new forms of unrestricted design expression that is refreshing to the “native practitioners.” Danish-Icelandic artist, Olafur Eliasson, has been known for his sculptural art and geometric installations activating unique sensory and atmospheric experiences. His more recent projects and collaborations operate at a greater scale of occupiable spaces and fully inhabitable buildings. The experience of these larger architectural pieces exceeds the conventional notion of architecture, embodying the same experiential and sculptural approach as in his art. Olafur Eliasson uses an artist’s perspective in defining objects and space to create an architecture of curated visual and spatial experiences.
隨著藝術家、設計師和建築師愈漸跳出自己的專業範 疇，涉足鄰近的創作領域，他們的跨領域視野往往能產 生不受成規限制的新形式和設計表達，使「本專業從業 者」耳目一新。丹麥冰島藝術家Olafur Eliasson以雕塑 及幾何化裝置見稱，誘發獨特的感觀與氣氛體驗。他較 近期的作品常處理大規模空間或完全可居住的建築物。 這些大型建築作品超越建築的傳統觀念，體現了與他的 藝術創作相同的實驗性和雕塑方法。Eliasson用藝術家 的視角定義物件與空間，創造細心經營視覺與空間體驗 的建築。
Fjordenhus, completed 2018
Your rainbow panorama, completed 2013
Cirkelbroen, completed 2015
Fjordenhus, the head office building of Danish financial investment firm, Kirk Kapital, may be considered the largest and most architectural of Eliassons creative ouvre to date. Designed in collaboration with architect, Sebastian Behmann, Fjordenhus is located at the tip of the Vejle Fjord inlet in Vejle, Denmark. It is an example of Eliasson’s architecture performing as a work of art.
At a similar scale is an architectural art installation entitled, Your rainbow panorama. A 150 metre long glass walkway allows viewers to journey through a multichromatic sensory promenade with panoramic views of the city of Aarhus in Denmark. The circular platform balances atop the ARoS Kunstmuseum building designed by Schmidt Hammer Lassen Architects, and geometrically contrasts the square museum block upon which it sits.
Eliasson’s characteristic sculptural approach to architecture extends to the Cirkelbroen pedestrian bridge in Copenhagen. Literally “circle bridge” in Danish, Cirkelbroen consists of five playfully overlapping round pedestrian platforms balanced above the water’s surface. The pods of varying diameters join the pedestrian path between two sides of Christianshavns canal.
Like an art object displayed on mirrored glass, Fjordenhus is set off the harbour and sits on the calm reflective waters of the fjord. It is joined to land only by a long narrow footbridge which distances the building and makes it visible from all sides and available to the public realm both from up close and afar. The ground floor of the building is purposed as public space, inviting opportunities for social gathering and reflection, while a long jutting pier extending tangent to the building allows visitors to take a linear procession away from the building and look back to the Fjordenhus from a more distant perspective. Locals on kayaks can likewise glide through the nearby waters and under the footbridge, getting a 360 degree view of the building displayed within the neighbouring residences and wharf.
If Fjordenhus is like a standalone sculpture, Your rainbow panorama is more an immersive installation. This art piece is a lens through which visitors experience the surrounding urban landscape. Viewing into and out from the corridor space, panes of glass tinted in a continuous gradient of colours filter and colourize the light in one’s vision. Looking across the 52 metre diameter walkway, the panels also multiply the colours the rainbow ring itself. This interesting play of shifting colour, transparency and reflectivity is present in many of Eliasson’s art projects.
The building features a sculptural quality generated from an array of intersecting conical voids. The ellipsoidal negative spaces are carved out as if by force of nature, like the glacier cuts that formed the fjords. As a result of its overall rounded geometry, the facade is uniform and does not have a typical front entrance facade or hidden service back side. The continuity of its exterior wall, constructed with 15 different colors of brick, clothes the building in a dappled skin, punctuated by a series of custom manufactured elliptical glass windows matching the concave and convex surface enclosure. This departure from per vading orthogonal standard of architecture demonstrates the artist’s commitment to an unconventional sculptural form and artistic presence of the Fjordenhus. It appears less like a typical office building and more like an industrially designed object with moments of surprising design detailing throughout.
Your rainbow panorama functions as an art piece and a piece of architecture at the same time. It is not a constructed walkway with a colourful installation placed within, nor is it an object from which viewers must only observe from a certain distance. The concept of the visual spectrum is engineered into the circular promenade such that the structure functions as the kaleidoscopic experience itself. An obvious example is seen in how the glazed perimeter forgoes standard window frame or mullion components, and instead utilizes continuous floor to ceiling structural glass with nearly invisible seams to maintain an uninterrupted visual panorama. Although the installation is subject to building restrictions, such as having its own emergency escape staircase for occupant safety and fire egress, the artistic concept and coloured spatial experience is realized and brought to life by the architecture in Your rainbow panorama. Eliasson describes the project with a sense of melding between the realms of museum space, art space, and city scape. “Your rainbow panorama establishes a dialogue with the existing architecture and reinforces what was already there, that is to say the view across the city. I have created a space that can almost be said to erase the boundary between inside and outside – a place where you become a little uncertain as to whether you have stepped into a work of art or into part of the museum. This uncertainty is important to me, as it encourages people to think and sense beyond the limits within which they are accustomed to function.”(1) In Your Rainbow Panorama, the architectural shell and exterior city environment are brought together with the viewers in one holistic art experience, and the viewers themselves have become the medium to bridge the two in this “reality machine.”
The sculptural quality of Fjordenhus not only invites it to be seen from all sides but extends into the details of the bespoke interior. Custom designed semi-elliptical window units, curved-glass doorways, and a skeletal spiral staircase form the main components of the interior architecture. Each of the individual components of the building are designed and discretely resolved without compromising the overall conical form and thus raise the level of architectural design. The interior office area are further punctuated by pieces of sculptural furniture and illuminated by Eliasson’s spherical luminaires. Both inside and outside, the building is consciously aware of its appearance and can be experienced as a modern sculpture gallery integrated into the architecture itself.
ASIA NOW
巴黎亞洲藝術博覽 會 Oct 16 - 20 ASIA NOW aims to present the new perspectives and issues for contemporary Asian art and its market. Since 2016, ASIA NOW takes place every year during Paris Art Week in October, as a platform for dialogue and interaction dedicated to contemporary artistic creation, addressing in greater depth the selected artistic scene through a curatorial platform and special projects. 巴黎亞洲藝術博覽會從創立到現在，專門針對亞洲當代藝術，深入探訪亞洲當 代藝術界，展出一系列知名及新銳藝術家的作品。博覽會也向國際市場推廣亞 洲當代藝術家，希望將中國乃至亞洲的畫廊和藝術家介紹給歐美等國際藏家， 也幫助畫廊瞭解國際市場發展趨勢。博覽會為亞洲當代藝術家提供支持，給了 畫廊與海外藏家直接接觸和交流的機會，也加深了藏家對中國當代藝術的認 識。
11
月
Artissima
都靈國家當代藝術博覽會 Nov 1 - 3
ART021 Shanghai Contemporary Art Fair
中國上海廿一當代藝術博覽會 Nov 7 - 10
Art Düsseldorf
德國杜塞爾多夫藝術博覽會 Nov 15 - 17
Cologne Fine Art
科隆國際藝術博覽會 Nov 21 - 24
Art Arnhem
阿納姆藝術博覽會 Nov 30 - Dec 1
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NOV
Fjordenhus
More than a standard pedestrian bridge, Cirkelbroen is also an iconic sculptural landmark of Copenhagen. Five vertical cabled masts delineate a group of interlocking conical spaces over the deck. The nautically inspired components are drawn from a vocabulary of traditional marine vessels. Seen from a distance, Cirkelbroen’s silhouette could easily be mistaken for a ship docked in the city. The bridge contextually transfers the iconic image of merchant ships along Copenhagen’s 17th century Nyhavn waterfront into the heart of the city. It is aware of its iconicism within the Danish city and is visually expressive of this symbolism. The detailing of Cirkelbroen further showcases a level of industrial design and structural engineering beyond what is normally found in a standard piece of urban infrastructure. Five minimalist circles of large and small diameters appear to hover in the sky as they are suspended atop the vertical masts, anchored only by an array of fine steel cables. The rotating function of the platform is cleverly hidden within the juxtaposed circular pods and allow the bridge to accommodate larger watercraft to pass through the canal. At the pedestrian level, the fine detailing continues in the intricate red latticework of the balustrade, visually highlighting the arced perimeter segments of the bridge deck. When traversing the Cirkelbroen, the circular decks offer generous space not only to pass through, but to pause on the side and connect with the city. The site of Cirkelbroen sits perfectly in line with the axis extending from the transparent central atrium of the Royal Danish Library (familiarly known as the Black Diamond), also designed by Schmidt Hammer Lassen. From the bridge, one can appreciate such significant Danish architectural landmarks along the harbour. Equally, patrons of the library gazing across the harbour may also identify Cirkelbroen as piece of active urban sculpture.
All photos are taken by the author. 所有圖片均為作者拍攝。 1. https://en.aros.dk/visit-aros/the-collection/your-rainbow-panorama/ 2/3. https://www.youtube.com/watch?v=0QCLS01fhqw
Cologne Fine Art
科 隆 國 際 藝 術 博 覽會 Nov 21 - 24 Held every year in Cologne, Art Cologne was established in 1967 in Germany as Kölner Kunstmarkt. Regarded as the world's oldest art fair of its kind The fair runs for several days and brings together galleries from more than 20 countries at the Cologne Exhibition Centre, one of the world’s largest exhibition centers. Today around 250 commercial galleries come together each spring to present works by over 2.000 artists. 創辦於1967年，「科隆國際藝術博覽會」每年定期在德國科隆舉行，被稱為 「藝博會之母」，至今已成功舉辦40屆。最初的宗旨是想拯救德國二戰後頻 臨崩潰的藝術市場，首屆藝博會獲得了成功，對國際藝術市場及藝術史產生了 深遠影響。它同時也是全世界規模最大的藝術盛會，參展畫廊近年來穩定保持 在250家左右，每個展位通常不少於50平方米。科隆現代和當代藝術博覽會除 向藝術品收藏機構和個人銷售藝術作品外，還非常重視對年輕藝術家的培養。 參觀者主要為藝術品收藏、銷售機構和個人以及藝術愛好者。
12
月
DEC
Luxembourg Art Fair
盧森堡國際當代藝術博覽會 Dec 5 - 8
Art Basel in Miami Beach 巴塞爾邁阿密藝術博覽會 Dec 5 - 8
EuropArtFair
阿姆斯特丹歐洲藝術博覽會 Dec 6 - 8
26/1/2019 ��11:52
artplus
13
February / March 2019
FEATURE
峽灣樓（2018年落成）
你的彩虹全景（2013年落成）
丹麥金融投資公司Kirk Kapital的總部大樓峽灣樓（Fjorden-
名為「你的彩虹全景」（Your
panorama）的建築
Eliasson將其特色雕塑建築手法應用在哥本哈根的行人橋圓
hus），可以算是Eliasson屹今的作品中最大和最具建築性的
藝術裝置是一條長150米的走廊，讓觀眾穿梭於彩色感觀步行
橋。顧名思義，圓橋由五個直徑不一的圓形有趣地重疊，接駁
一件，與建築師Sebastian Behmann合作設計，位於丹麥瓦埃
道，飽覽丹麥奥胡斯全景。這個圓形平台位於Schmidt Ham-
克里斯欽運河兩邊。
勒峽灣的瓦埃勒，是他以建築作為藝術作品的好例子。
mer Lassen Architects所設計的AroS藝術館之上，與其方形建
rainbow
圓橋（2015年落成）
築相映成趣。
除了作為一條行人橋，圓橋更成為哥本哈根標誌性的雕塑地
就如一件放置在鏡面上的藝術品，峽灣樓座落在峽灣開端平靜
標。五枝桅杆和繩構成圓形上一組交錯的圓錐體，靈感取自傳
的水面，只靠一條窄長的步行橋與陸地相接，這樣可以製造出
如果峽灣樓是一件獨立雕塑，《你的彩虹全景》就是一件融入
統航海艦艇。遠眺圓橋的剪影很容易會誤會它是一艘停泊在碼
距離感，讓公眾可遠可近、從所有角度觀賞它。建築物的地面
式裝置。訪客在其中感受四周城市景觀，視線穿過走廊，玻璃
頭的船，它將哥本哈根17世紀新港海旁商船的形象移置城市
一層是刻意保留的公共空間，開放可讓公眾聚會或獨處靜思。
連綿漸變的彩色濾鏡為影像添上色彩，望向直徑52米走廊的
的中心，肯定該丹麥城市的標誌，作一種視覺呈現。
長長突出的碼頭是建築物延伸的切線，訪客可以沿著這條線走
對面更讓色彩倍增。顏色轉換、透明度和反射的考慮在Elias-
到更遠處回望大樓。划獨木舟的本地人亦可以遊走附近水域和
son的藝術項目都很常見。
Your rainbow panorama
圓橋的細節更加展示一般城市基建沒有的工業設計和結構工程
穿過步行橋，360度觀賞大樓和相鄰的住宅和碼頭。
水平。五個簡約有大有小的圓形僅用鋼繩斜拉在桅杆上，整個 《你的彩虹全景》既是一件藝術品，也是建築作品。它不是
結構好像懸浮在半空。平台旋轉的功能巧妙地隱藏在圓形的重
一組相交的圓錐形空隙使大樓富於雕塑特質，橢圓形的負空
只用於擺設彩色雕塑的走廊，亦不是觀眾必須保持距離觀看的
疊位置，有需要時可以旋轉展開讓較大的船隻通過運何。行人
間猶如冰川切割出峽灣的形狀。整體圓形幾何造型使外牆各面
物件。視覺光譜的概念與圓形步行道緊密結合，建築結構本
一層欄杆錯綜複雜的紅色格子增加細節處理，視覺上突顯橋面
統一，沒有典型的前後之分。連貫的外牆用上15種顏色的磚
身成為一個萬花筒。最佳的佐證莫過於圓周的玻璃外牆，設計
周邊的弧形部分。
頭，以斑駁的皮膚包裹建築物，順應凹凸起伏的外殼是一系列
摒棄了標準窗框或豎框支撐體系，而是運用無縫連接的落地玻
特製造型的橢圓玻璃。Eliasson突破普遍的正交建築標準，顯
璃，幾乎看不見接口，保持無間斷的連續視覺全景。雖然裝置
橫越圓橋的時候，圓形橋面寬闊既讓行人通過，也更能讓人停
示對非傳統雕塑形式和藝術性的信仰，使作品有別於典型的辦
受建築條例限制，例如要有緊急火警逃生樓梯，但《你的彩虹
下來感受城市的環境。圓橋的地點與丹麥皇家圖書館（一般稱
公室大樓，更似一件充滿細節驚喜的工業設計品。
全景》的藝術概念和彩色空間體驗通過建築的手段完美實現。
為黑鑽石）的透明中庭中軸成一直線，後者也是出自Schmidt
峽灣樓的雕塑特質不但使它適合多角度觀看，還顧及內部的設
Eliasson曾形容這個項目凝聚博物館空間、藝術空間和城市景
地標，同樣在圖書館的讀者也可以看到海港上的圓橋這個活躍
計。特製的半橢圓窗戶、彎曲玻璃的出入口和螺旋形骨幹樓梯
觀：「《你的彩虹全景》與原有建築建立對話，並加強原有的
的城市雕塑。
構成了內部建築的主要組成部分，而每個大樓的部件都是獨立
東西，即是該市的景觀。我創造了一個幾近消除內外分界的空
設計完成，對整體的圓錐造型不能有絲毫妥協，建築的設計水
間—— 一個你有點不肯定進入了一件藝術品還是一所博物館的
平因而提升。內部的辦公室區域由雕塑家具進一步裝飾，並使
地方。這種不確定對我來說很重要，因為它使人超越習慣地思
用Eliasson設計的球形燈具照明。無論內外，大樓的造型都清
考和感受。」(1)《你的彩虹全景》的建築和外部城市環境通
晰分明，建築中的體驗就有如置身現代雕塑畫廊一般。
過觀眾結合成一個整體的藝術體驗，而觀眾成為這「實況機
Hammer Lassen的手筆。在橋上可以欣賞哥本哈根各個建築
器」中兩者連接的媒介。
In all three of these projects by Olafur Eliasson, the origins of design appear to spring from artistic conception rather than from the typical protocols and restraints in architecture of structural form and functional economy. According to Eliasson, every decision was made from the artistic point of view.(2) There is a departure from common rectilinear designs and a strong embrace of the curvilinear form used throughout each of the pieces, whether as formal generator, as experiential lens, or as modern civic landmark. The projects also all share a specific language of custom designed components to achieve sculptural ideas and uncompromising geometric rigor. Futhermore, the movement of people plays an important role, emphasizing the sensorial experiences of urban or architectural space, light and colour. It is also worth noting that these dominantly architectural projects, including the Fjordenhus, Cirkelbroen, Your rainbow panorama, as well as Eliasson’s prismatic facade unit in the Reykjavik Harpa Concert Hall, are all listed as artworks on Studio Olafur Eliasson’s website. In fact of the 120 team members credited on his Studio team, there are staff dedicated to design development and production, however none have the actual title of an architect. Only in his recently formed venture, Studio Other Spaces (SOS), does Eliasson begin to describe the firm as a definitive architectural practice. Together with architect Sebastian Behmann, the current and future projects of Studio Other Spaces, including the Meles Zenawi Memorial Park in Ethiopia and Ilulissat Icefjord Park in Greenland, continue to further meld the dichotomies between art, space, sculpture, and building. The practice expertly blurs these fields to create and define space through sculpture, creating installations which function as architecture and therefore architecture which may be experienced as art. In Eliasson’s own words, “We don’t try to make architects into artists and artists into architects. It’s really about doing something which allows two different worlds to do something even stronger that they cannot do separately.”(3)
cirkelbroen
以上三個Olafur Eliasson的項目，設計源頭都是藝術概 念，不受建築結構形式和功能經濟的典型協議和約束。根 據Eliasson所述，所有設計決定皆由藝術出發。(2) 與普通 的直線設計不同，他在每件作品中都運用曲線形狀，有時 是生產形式，有時是實驗性濾鏡，有時是現代公民地標。 它們全部擁有共同特製設計組件的特別語言，為達到雕塑 理念和嚴謹的幾何毫不妥協。再者，人的流動擔當重要角 色，強調對城市或建築空間、光和色彩的感觀體驗。 值得一提的是這些建築項目，包括峽灣樓、圓橋、《你的 彩虹全景》和雷克雅未克哈帕音樂廳的棱鏡外牆，都在 Olafur Eliasson工作室的網頁列為藝術品。事實上他工作室 的120人團隊中，有專門負責設計發展和製作的成員，卻沒 有一位有建築師名銜。直到近來成立的企業「其他空間工 作室」（Studio Other Spaces），才定性為建築工作室。 Eliasson在「其他空間工作室」與Sebastian
Behmann合
作，目前和未來的項目包括埃塞俄比亞的梅萊斯紀念公園 和格陵蘭的伊盧利薩特冰峽灣公園，將會繼續繼續磨合藝 術、空間、雕塑和建築物的分野，進一步模糊這些領域， 透過可擔當建築的雕塑、裝置定義空間，因而建築也成為 藝術。如Eliasson所言：「我們不是要將建築師變成藝術 家，或者將藝術家變成建築師，而是要令兩個不同世界的 人走到一起，做到比分開各自操作更強的事情。 (3)
Art Matters in Hong Kong 2019 2019年香港藝術 盛 事
Hong Kong Arts Festival 香港藝術節 Feb 21 - Mar 23
ifva festival
i f va獨 立 短 片 及 影 像 媒 體 節 Mar 6 - 17
Hong Kong International Film Festival 香港國際電影節 Mar 18 - Apr 1
Le French May 法國五月 May 1 - Jun30
Muse Fest HK 香港博物館節 Jun - Jul
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Chinese Opera Festival
中國戲曲節 Jun - Aug
International Arts Carnival
國際綜藝合家歡 Jul - Aug
Freespace Happening
自由約 To be confirmed
Microwave International New Media Arts Festival
微波國際新媒體藝術節 Oct - Nov
Le French May
Chinese Opera Festival
法國五月 May 1 - Jun30
中國戲曲節 Jun - Aug
Le French May has become an iconic part of Hong Kong’s cultural scene that reach out over 1 million visitors each year. Established in 1993, it is one of the largest cultural events in Asia with more than 150 programmes presented across two months showcasing the most diversified art forms: from heritage and contemporary arts, paintings and design, to classical music and hip-hop dance, cinema and circus.
Chinese opera has a long history and a profound culture. Organised by Leisure and Cultural Services Department, in its ninth edition, the Festival will continue to follow this tradition, bringing to audience performances of diverse regional genres noted for their distinct charm since its inception in 2010.
1993年首辦的法國五月藝術節，是亞洲最大型的 文化盛事之一。每年五至六月，法國五月均會於 兩個月內舉辦超過150場文化活動，吸引逾一百 萬人參與；在文化藝術發展蓬勃的香港，法國五 月藝術節已是一項年度主要盛事。
康樂及文化事務署主辦的「中國戲曲節」，都會 邀請戲曲界翹楚演繹多齣膾炙人口的戲碼，同時 展現多項別具特色的戲曲劇種，為您帶來一頓豐 富的戲曲饗宴。
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NO MAN’S LAND – WHERE URBAN IMAGERY FLOURISHES
information, the symbols radiating from the centre was in fact a revelation of an explosion of loneliness and emptiness from within. Tzu-Jui Huang chose to focus on the personal perception of the bigger environment, and visualized the individuals struggling in Taiwan, as if making a silent protest. By arranging the materiality and symbolised form of different objects into a collage, the artist shaped a unique way of presenting the illustrations. Further focusing on the personal perception, I-Sheng Kao depicted the urban atmosphere by detailing the body gestures with fine strokes and coloured ink. In his works, the remote and distant relationship between an individual and the modern society was projected onto their body language and facial expression.
無人之境:城市意象的所在 Text 文 ｜ Li, Yin-Jhang 李寅彰 Translated 翻譯 ｜ Phoebe Cheng
Li, Yin-Jhang 李寅彰 PhD Candidate, Doctoral Program in Art Creation and Theory of the Tainan National University of the Arts. 臺南藝術大學藝術創作理論研究所博士候選人
高義勝I-Sheng KAO, 絢Gorgeous, 2014, 80.5 x 80cm, 紙本設 色Color on Paper
L
ooking up the cityscape from a large concrete jungle, what is devoured is not only the sky but also the crowd in the metropolis. Travelling in a city, strange feeling of Déjà vu sweeps up here and there, triggered by the stories that belong to a city and her history. Amongst the continuation of time, we might find ourselves facing the urgency of a changing climate. As a response, contemporary artists are attempting to bring the imagery of “nature” into the cityscape. Hence begin the reflection of our environment and the risks we are living with. Advancing on the curatorial theme of Urban Imagery, Der-Horng Art Gallery is directing the spotlight on the everyday discourse made by Taiwan contemporary artists. The modern life is rendered into the language of media, and through the works, we might be able to get a glimpse of the landscape in the artists’ mind. To decode the messages, a viewer has to submerge into the urban imagery and feel the connection with the world through sensual experience. With the laborious history of men-competingwith-nature in mind, Yang Shun-Fa travelled with a camera in places altered by economic activities in the past. Patient waiting and observation allowed
REVIEW
田島大介Daisuke Tajima, 九龍Kowloon, 2019, 91.0 x 72.7cm, Pen, Ink, Kent Paper, Bogus Paper
Urban Imagery resembles a way of thinking directed to the others. From between the fine line of contemporary art practice and the artwork, the exhibition created a casual reality about life and time. When we are presented with multiple facts in life, each perception can serve as a unique viewing point, such is actualised by the skill to analyse the reality, and to transform difficulties and limitations. The urban imagery can be read as where reality exists – the reality that presents our situation and shows the circumstances where creative attempt may transform reality to the presence. This seemingly imperfect "location" occurs in the "place" of the voice of Hokkien. It can also be perceived or interpreted as an ambiguous state of “in-between”. Urban imagery flourishes where the viewers are invited to experience a collection of imaginations, and to perceive the noman’s land where one’s heart lies.
我們身處於城市的叢林，仰首龐然的城市景觀，被吞 噬的不僅是天空，還有繁忙於都會的人群。當我們再 一次穿梭城市的光景，偶然地，出現了如夢似幻的情景，那是 一段城市與歷史之間的故事。此刻，我們有可能在時間的綿 延之中，急迫地面臨一股變遷的氣候，於是當代藝術創作者 試圖將「自然」的意象拉進城市的疆域裡，我們開始反思所 處的環境，也一直維持著與某種危機共存的關係。 德鴻畫廊(Der - Hor n g A r t G a l ler y)秉持「城市意象」 (Urban Imagery)的策展脈絡，主要聚焦於臺灣的當代藝術 創作者如何回到現實生活中開啟命題。藝術家們透過媒材的 語彙，轉譯出關於人類的當代生存情境。因此，在這些作品 中，我們或許能夠接收到媒介與思辨景觀的訊息。這些可被 解讀的訊息，也需要觀者沉浸在城市意象之中，透過感知的 經驗從而體現與世界之間所在的連結。 面對人類與自然搏鬥的歷史，楊順發(Shun-Fa Yang)扛著 攝影機踏查在經濟發展而變異的地理環境。歷經漫長的觀 察與等待，觀察海水的潮起潮落，拍下了一座座看似孤獨的 島嶼，並在景框之外沉思臺灣的土地。事實上，這也是藝術 家所進行的藝術行動，佇足於歷史與城市變遷之間的幻影與 廢墟，將影像作為悼念的感召。楊順發有感於這片土地曾經 的榮景與消逝，試圖將意念與心境「隱身沒入」在不可見的 山水之境。當外在環境轉化到創作者內化之境時，田島大介 (Daisuke Tajima)透過鋼筆的線條與潑墨的技巧，虛構出科 幻電影的場面調度。縱然這些科幻場面有著龐雜的資訊，事 物的符碼如輻射般不斷地向外擴張，但對於創作者而言，這 是一場引爆內心孤獨與空虛的所在。當人類在面對環境之後 進入個體感知的狀態時，黃子瑞(Tzu-Jui Huang)描繪了臺 灣社會環境中的生存個體，彷彿在緘默的狀態中進行控訴。 他在繪畫中將物件的象徵符號與物質性，以蒙太奇的方式形 塑另一種觀看的方式。當個體進入感知，身體的姿態表達了 城市中存在的氛圍，高義勝(I-Sheng Kao)透過墨線與色彩， 描摹出個體在面對當代社會環境中存在著某種陌生與疏離的 關係，投射在人物的肢體語言與表情。 「城市意象」如同朝向他者的思考，是在當代藝術實踐與作 品之間，創造出關於生命與時間不經意的現實。當我們在現 實中面臨諸多的事實，每一個視角都是獨特的觀看之處。這 是透過這一種思辨現實的能力，得以轉化困境與限制。城 市意象可解讀為現實的所在，這個現實呈現了我們正在經歷 的「處境」(situation)，也展現了創作實踐使現實轉化存在 (presence)的境遇。這個看似不完美的「所在」，發生在閩南 語音發聲的「地方」(place)，在感知中也具有某種流動於居 間(in-between)的轉譯。城市意象的所在，在邀請觀眾進入各 種不同的想像當中，體悟心之所在的無人之境。
him to know the tides of the ocean and to capture what appeared to be lonely islands, a reflection of the land of Taiwan. Standing in between the illusion and the ruins of a changing city, the artist turned imagery into a calling of a eulogy. As a man who witnessed the fade of glory on the land, Yang also “submerged” his thoughts and feelings into the invisible natural landscape. Daisuke Tajima’s works reflect the internalisation of one’s external environment. Through the lines and forms constructed by illustration and splashed ink, the artist arranged the mise-en-scène of a SciFi movie on the paper. Though heavily loaded with
當
黃子瑞Tzu-Jui HUANG, 新樂園-彼岸New Paradise-The other shore, 2016, 80 x 120cm, 設色、墨、鉛筆、麻紙Ink, Gold, Color on Hemp paper
Booth F12
展出藝術家
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ARTIST
田島大介
Daisuke TAJIMA
楊順發
Shun-Fa YANG
高義勝
I-Sheng KAO
黃子瑞
Tzu-Jui HUANG
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PONDERING THE MEANING OF ‘RED’ ON THE ASPECT OF CHINESE-LANGUAGE LITERATURE: “CHAN SAI-LOK: LAND OF LONGING AND EXILE” 從華文文學思索「紅」的意義——阿三個展《一夕餘地》 Text 文 ｜Zheng Tianyi 鄭天依 Translated 翻譯 ｜ Wong Suet Yi, Snowie
A
s Ink art is gaining increasing attention in Hong Kong, it is not hard to see ink artworks presented in various art exhibitions besides the Ink Asia held every year. In 2017, the United Overseas Bank launched the first UOB Art in Ink Award to promote the development of ink art, as well as to provide opportunities for local artists to showcase their talents. The winner of the “Most Promising Artist of the Year”, Chan Sai-lok, who is a local artist, was awarded the scholarship from the Regal Hotel to attend a residency programme for two months in an arts community space, Flux Factory, in New York. During his stay there, he visited various art exhibitions, art venues and studios of large or small scale. He also exchanged ideas with other Artists-
in-Residence, and at the same time engrossed in his own creation. The works of Chan will be shown in the exhibition, “Land of Longing and Exile”, at the Experimental Gallery of the Hong Kong Arts Centre to summaries his response to the experience in New York. New York is a diverse immigrant city, where artists stay to observe and think about its diversified ethnics, religious beliefs, values, gender appearances , and customs. Chan tried to understand New York by making a flag of the United States as a reflection on the meaning of color and cultural identity. Red, white and blue are the most common color used in national flags, while the artist puts more focus on red and blue by associating them with Asian ethnicity and reality
of life in America. “Land of Longing and Exile” is the beginning of the Chan’s “Red” series. On the aspect of Chinese-language literature, the artist ponders on the meaning of “Red”. He recounts how New York was represented in the fictions written by Pai Hsien-yung (白先勇), Wong BikWan (黃碧雲) and Kuo Chiang-sheng (郭強生) and has since become a symbol of forlornness. Wong Bik-wan’s fiction Love In New York (1997) is about how the legal and illegal immigrants face up to the living hardships and conflicting situations, which depicted the social atmosphere facing the 1970s and 1980s economic recession of the United States; the two stories “Danny Boy” and “Tea for Two” in Pai Hsien-yung’s New Yorker series recount the helpless situation of the sexual minorities and the sense of insecurity spread over the New York City at the onset of AIDS outbreak. And Kuo Chiang-sheng’s novels Nightly, with the collapse of the Twin Towers in September 11 Attacks as the background, takes a closer look into the living condition of individuals under Americentrism. With literature as the point of departure, Chan Sailok’s paintings lead to insight into the city, identity, cultural identification, as well as the immigration flows and the history of refugee. They also prompt a question to those who are struggling to survive in Hong Kong: where can we go? This solo exhibition responding to the artist’s residency in New York is just a beginning. In this coming summer, Chan will be continually supported by UOB and Regal Hotel and be a resident in Flux Factory once again for his further creation.
水
墨藝術在香港引起越來越多關注，除了每年幾場水 墨藝博，各種藝術展覽中都常常見到水墨作品的蹤 跡。2017年起大華銀行亦為了推動水墨文化，舉行首屆 「大華銀行年度水墨藝術大獎」活動，希望讓本地藝術家 有機會一展才華。
東南亞藝術市場再反思 Text 文 ｜Laura Shen 申雁冰
A
r t S t a g e 的 取 消 宣 告了 新 加 坡 旗 艦 藝 博 會 的 離 世。這 並不 是 新 加 坡 的 第一次 藝 術 之 死。2 0 11年 A r t S t a g e首次 登 陸新加 坡，耀 眼 光芒令已 舉 辦 3 5 年的 新 加 坡 國 際 藝 術 節 黯 然 失色，人們 在 討 論，國 際 水 準 藝 博 會 駕 到，過 時 的 藝 術 節 還 有 無 存 在 必 要。第 二年，當 A r t S t a g e 迎 來大 放 異彩的時刻，藝 術 節被叫停。
A r t S t a g e 的 垮 塌 突 如 其 然，可 回 望 新 加 坡 藝 術 生 態 史，此 刻 卻 似 曾 相 識。本 地 的 S . E . A F o c u s 雖 被 業 界 詬 病 不 正 當 競 爭，卻 不 是 該 討 論 的 重 點。跨 國 集 團 M C H 對 獅 城 虎 視 眈 眈，一 個 新 的 國 際 藝 博 會 A R T S G 蓄 勢 待 發，藝 展 資 本 集 團 的 跨 國 壟 斷 化，才 是 更 致 命 的。M C H 宣 佈 進 駐 獅 城 時，勢 頭 之 猛 大 有 當 年 A r t S t a g e 的 驚 艷，當 A r t S G 成 為今 年 獅 城 藝 術 市場 唯一 值得 期 待的展會 時，A r t S t a g e 被 緊 急叫停。 旗 艦 藝博之 死、中小 藝博 接 連 撤 退 緊 縮，不 禁 懷 疑 獅 城 是 否 和 藝 術 水 土不 服，藝 術 風 水不 好，雖 有各 類 活 動 試 圖 塑 造「 藝 術 之 城 」，但不 是 早 逝 就 是 沒 影 響力，不 僅 被 老 對 手 香 港 遠 遠 甩 到 後 面，連 低 調 的 臺 北 都 將 其 趕 超。但 獅 城 仍富 吸引力，一 個 會 展 風 頭 不 再，就 有 新 的 會 展和 創 新 活 動 湧 入，A r t S t a g e 之 死，是 獅 城 藝 術 式 微，也是 競爭激 烈、市場活躍的結果。
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反 思 東 南 亞 藝 術 市 場，它 仍 是 熱 錢 洶 湧 的 新 興 地 區， 熱 也快 涼也快，經 濟 社 會不成 熟，藝 術是 新 貴富豪 的 玩 物，終 極 價 值 是 財 富 投 資，既 然 是 投 資，真 正有 消 費 力 的 藏 家 是 不 會 局 限 在 本 地 的，全 球 頂 級 交 易 會 才是 他 們 的目標。像 A r t S t a g e 這 樣 的 地區 藝博，倒 適 合 生 活 方 式 派 對 和 社 交 宴 會，2 0 1 8 年末代 A r t S t a g e 就 很明 顯（參見 a . m . p o s t 2 0 1 8 年 3月增 刊 特 別 報 道 ），如 今 回想有些 諷 刺。八年前，世界 藝博 會 大 腕 瑞 士人 R u d o l f L o r e n z o 駕 到，給 初 級 地 區 市 場 帶 來 活 力，而 現 在，僅 憑 藉 總 監 個 人的人 脈 與 關 係，以 及家 族 企 業 式 經營，很 容 易為 不規 範 管 理和 創 始人 人為因素 左右，加上 對 新 加 坡和 東 南 亞 本 地名流 派 對、時 尚文化 的 迎 合，致使 藝博 會 逐 漸 偏 離了藝 術 初 衷，一旦 遭 遇 其 瑞 士老 鄉 M C H 國 際 資本 集 團的 競爭，缺 乏公司制 管 理和制 度化資本 的弱 點，便 暴 露 出 來。瑞 士大 腕 受 挫，另一 個 更年 輕 的 英 國 人 M a g n u s R e n f r e w 意 外閃亮，主辦過香港巴 塞爾、創 辦 臺 北當代，今 年又 將 跨入 獅 城，藝 術 江 湖 的 風 水流 變 向來如此，想 必身經百戰的 L o r e n z o深諳此 道。 正如 任 何生 意 場一樣，藝博 會作為一門生 意 經 歷 起伏 是 正 常 現 象，起 始、高 潮、低 潮 和 沒 落 都 不 奇 怪。比 起 藝 博 會 消失，更 重 要的是 背景 環 境。L o r e n z o曾主 持 瑞 士 巴 塞 爾，一手 將一 個 歐 洲 藝博 會 開 拓 到 美 國 邁 阿 密，讓 巴 塞爾 變 成全 球品牌，這 段 成功經 歷也能 在 A r t S t a g e 找 到同樣的影子，主創 們 企 圖把 A r t S t a g e 做 成覆 蓋 東 南 亞 的 國 際 品 牌，在印尼 雅 加 達 設 分支，大有 複 製 邁 阿 密 巴 塞 爾 的 意 思。然而這 種 戰 略 在 東 南 亞卻 行不 通，東 南 亞 的 藏 家 和 畫 廊 體 系不成 熟，國 情 差 異 大，一國 經 驗 在 別 國 難以複 製，盲目擴 展 反倒 容 易將原 品 牌 拖 垮。從 更 大 層 面看，全 球 藝博 會 行業 在 加 速 跨 國 壟 斷化，資 源 逐 漸 集中在 國 際 寡 頭 手中，從 新 加 坡 的 經 驗 看，經 歷了
紐約本是混雜的移民城市，因此藝術家在紐約時常常觀察 和思考多元的種族、宗教信仰、價值觀念、性別裝扮與生 活習慣。在創作上，他嘗試從國旗開始理解紐約，在駐留 期間重做了一張美國國旗，反思顏色與文化身份的意義。 紅、白、藍為常用之國旗顏色，藝術家着眼於跟亞洲血脈 連結的紅及反映美國真象的藍。《一夕餘地》為「紅」之 始，藝術家從華文文學思索「紅」的意義，從白先勇、黃 碧雲及郭強生等作家筆下的紐約入手，思考這城市如何被 呈現，並成為失落的代名詞。黃碧雲的小說〈愛在紐約〉 是合法或非法移民面對生活種種困境與矛盾的意象，亦是 七、八十年代美國經濟蕭條下社會氣氛的寫照；白先勇 在《紐約客》的兩個短篇〈Danny Boy〉及〈Tea for Two〉，回顧愛滋病爆發之初，性小眾族群無助之身世， 及紐約市面瀰漫惶恐不安的陰霾；郭強生長篇小說《夜行 之子》則以「九一一事件」雙子塔倒下為背景，看清楚大 美國主義下個體的生存狀況。 阿三的繪畫計劃從文學出發，思考城市、身份、文化認同 以及移民潮與逃亡史，更向身為仍在香港求存的人發問， 我們可以到哪裡去？是次駐留的回應個展只是一個開始， 在今年暑假，藝術家會繼續獲得大華銀行與富豪國際酒店 的支持，再一次回到紐約Flux Factory 進行駐留創作。
+data Date ｜8-27 Feb 2019 Time ｜10am-6pm (Opening hours may change if Shouson Theatre has day-time performance) Venue ｜Experimental Gallery, 3/F, Hong Kong Arts Centre (2 Harbour Road, Wan Chai, Hong Kong) Opening ｜4-6pm, 19 Feb 2019 (Tue) Presented by ｜United Overseas Bank (UOB) Creative Partner ｜Hong Kong Arts Centre 日期 ｜2019年2月8日至27日 時間 ｜上午10時至下午6時 （倘壽臣劇院進行日場演出，開放時間將會稍作更改） 地點 ｜香港藝術中心三樓實驗畫廊（香港灣仔港灣道2號） 開幕 ｜2019年2月19日（二）下午4時至6時 主辦 ｜大華銀行 創意夥伴 ｜香港藝術中心
而首屆「大華銀行年度最佳水墨藝術作品」大獎的獲得者 本地藝術家阿三（陳世樂），在獲得富豪酒店的獎學金資 助下，於紐約藝術空間Flux Factory駐留了兩個月。期間 他走訪了當地各大小藝術展覽、藝文場地及工作室，與其 他駐留藝術家進行交流，同時更埋首自己的創作。而他的 創作成果則在藝術中心實驗畫廊舉行的展覽《一夕餘地》 中呈現，作為是次藝術駐留的回應。
Installation view of Art Stage Singapore 2017. Courtesy Art Stage Singapore.
藝博會的消逝
REVIEW
Started in 2011, Art Stage Singapore is regarded as a major art fair of Singapore. Courtesy Art Stage Singapore.
本土 生長、國 際 大 腕 加 盟，再 到 全 球 資本 控 制 的 階 段， 這 種 趨 勢的 愈 演 愈 烈讓中小藝 術 企 業 生存 愈 艱。 新 加 坡 政 府 與 A r t S t a g e 的矛盾也是 顯 而易見 的，A r t S t a g e 創 辦之 始 雖 然 得 到 政 府 支 持，可為 達 到 建 立「 藝 術 之 城 」的 行 政目標，政 府又 接 連 扶 植了藝 術 周、藝 術 大 獎、G i l l m a n B a r r a c k s，還有這 次被 詬 病 的 S . E . A F o c u s，這 些 活動 本想 趁 熱 打鐵，借 A r t S t a g e 熱 潮 製 造百 花 齊 放 的 虹 吸 效 應，策 略出發 點 固 然 好，但若應 用 不 當 只 會 劍 走 偏 鋒，分 散 注 意 力，搶 走 A r t S t a g e 資 源，包 括 藏 家、畫 廊、觀 眾，甚 至 媒 體 資 源。筆 者 就 曾 經 歷 A r t S t a g e 自 織 的 媒 體 圖，與 政 府 另 組 的 媒 體 團 撞 車，本 應 集中利 用的 優 質 媒 體 資 源，反而 變 成各走各 路，各 懷目的，沒 有 形 成 整 體。在一 個 城 市 的 藝 術 體 系 尚未 成 熟 時就 過早引入 競爭機 制，一旦 最大的 旗 艦 轟 然 倒 地，國 家 品 牌 就 會 受 損，其他中小活 動 也 未 必 能 從 這 種 競 爭 中受 益。政 府見 風使 舵 的 本質也 令人唏 噓，這 邊 A r t S t a g e 剛剛下線，那邊 A R T S G 就被 捆 綁，國家 藝 術局、經 濟 發 展 局 和 旅 遊 局「三 大 金 剛」又悍 然 出 現在 贊助名單裡，一如 他們一貫的做 法。
Lorenzo Rudolf, director of Art Stage Singapore. Courtesy Art Stage Singapore.
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February / March 2019
REVIEW one nation against the other. But they are more likely co-exist for me. Living in coexistence, they both speak out for attention.”
一
月份同一個展覽時段，臺北就有4個規模不一的藝 術展會：「水墨現場」（ I N K NOW ）、「臺北 當代」（Taipei Dangdai）、「藝術臺北」（One Art Taipei）、「藝術未來」（Art Future）。這是臺北藝術 的慶典，亦是競爭相當激烈的局面。
INK NOW, Taipei. 水墨現場臺北展博會
“MORE THAN ART FAIR, MORE THAN INK”: INK NOW INTRODUCES THE BEAUTY OF INK TO THE WORLD 「水墨現場」INK NOW 提出 「不止於藝博，無窮於水墨」 將美學推向國際 Interview 採訪 ｜Anthea Fan 樊婉貞 Zheng Tianyi 鄭天依 Edit 整理｜Anna Yiu 姚慧儀 Translated 翻譯 ｜ Wong Suet Yi, Snowie
I
n January, there were 4 art exhibitions at various scales held in Taipei in the same exhibition slot: INK NOW (水墨現場), Taipei Dangdai (臺北當代), One Art Taipei ( 藝術臺北) and Art Future ( 藝術 未來). They kicked off a celebration, but also an intense competition of art in Taipei. With the concept of integrating academia and industry, the INK NOW Art Expo in Taipei serves as a cross-boundary and multifunctional platform. This differentiates INK NOW from other standardized art fairs. The Founder and Chairman of INK NOW, Calvin Hui (許劍龍) says
Cheng-Yao YU, Landscape, Ink and Colour on Paper, 69.5×134.5cm. Courtesy of Xi Zhi Tang.《青綠山水》余承堯，水墨紙本設 色，69.5×134.5cm，圖片由羲之堂提供。
to achieve “more than art fair, more than ink” is their goal. Unlike ordinary art fairs, he thinks INK NOW will not be confined to an onsite event that lasts for only a few days. Instead, different kinds of ink art promotional activities, including academic publications, exhibitions, and guest talks, will be carried out in multiple regions constantly all year round. Ink painting, a unique traditional Eastern art practice of a long history, has been revealing its true beauty of black and white evolves over time. In the face of the huge impact of western contemporary art, Hui’s vision is to explore the possibilities in cultural root and contemporary art by providing a cross-region exhibition and sales platform. Throughout the curating process, exquisite art pieces of different years, styles, and medium are carefully selected for INK NOW, including the artworks of Wu Guan-zhong (吳冠中), Chao Chung-hsiang (趙春翔), Yuichi Inoue (Shibunkaku, Japan), Hsu Yung-chin (徐永進)(Yesart Gallery, Taiwan), Lee Kuang-yu (李光裕)(Chini Gallery, Taiwan), Zheng Lu ( 鄭路)(Parkview Green Art, Taipei), Cyril Delettre, Nicholas Lefeuvre (La Galerie Paris 1839, Hong Kong), as well as Victor Wong(黃宏達) and his invention, the world first A.I.
ink artist GEMINI (3812 Gallery, Hong Kong/ London), etc. Since the middle of August 2018, in order to have optimal space planning, Hui has spent a lot of time on meeting designers and getting to know about the messages in the artworks. “Blank space” is also a crucial element in the space arrangement. Lacking space in the exhibition venue will ruin the core value of ink art. Hui works together with Wooyo Company to bring the traditional Chinese architectural aesthetic elements into the decoration of the 6,000 square meters venue. Each of the exhibition sections has its own special theme. “We take reference from the 4 masterpieces of Chinese landscape design, the venue with several open areas, which resembles the blank space of ink art, allows the visitors to have a sense of the connection between human and nature, and to explore the nature and time captured in ink art. Talking about future plans, Hui reveals that his goal is to organize INK NOW regularly to promote the historical and sophisticated ink painting. However, although INK NOW attempts to break restrictions, they are not fighting for an aggressive stance. “Some media described the difference of Eastern and Western culture as the contending of
其中在臺北舉辦的「水墨現場展博會」（INK NOW Art Expo）以揉合學術與商業為理念，打造一個跨地區、綜 合多功能的平台。有別於倒模般舉辦藝術博覽會。作為「 水墨現場」的創辦人及主席許劍龍稱，今次要做到「more than art fair, more than ink」（「不止於藝博，無窮 於水墨」）。他續言，「水墨現場」有別於一般藝術博覽 會，不會只是一個侷限幾天的現場活動，而是希望全年無 間斷地在不同地區，以不同形式推廣水墨工作，包括出版 學術刊物、舉辦展覽及邀請學者做講座等。 水墨繪畫源遠流長，是東方藝術的獨特傳統，隨着時間變 遷，更表現出年月漸次的黑白。面對西方當代的浪潮席 捲，許劍龍希望通過打造一個跨地區性的展覽及銷售平 台，探討文化根性與當代之間的各種可能性。 從整體的策展佈局到畫廊的展覽方案，「水墨現場」精 心挑選來自不同年份、不同風格以至混入不同媒材創作 的優秀藝術作品參展，包括吳冠中、趙春翔、井上有一 （日本思文閣）、徐永進（臺灣意識畫廊）、李光裕（臺 灣采泥）、鄭路（臺灣僑福芳草地）、Cyril Delettre 和 Nicholas Lefeuvre（香港 La Galerie Paris 1839）， 以及黃宏達和由他首創的全球第一位人工智能水墨藝術家 A.I. GEMINI（倫敦／香港 3812 畫廊）等。 2018年8月中旬開始，為了做好空間策劃，許劍龍花了不少 時間會見設計師，了解畫廊作品想表達的意思。所以「留 白」的重要也顯現在空間佈置中，如果場地欠缺空間，便 失去了水墨的靈魂。許劍龍特意與臺北「無有設計」，在 6,000平方米的展館融入中國傳統建築美學，每個展區都有 獨特主題。「整個空間參考中國四大庭院設計，提供了很 多如水墨畫中的留白的小廣場，使參觀者感受到人與自然 的關係，探討水墨的自然及時間。」 談及未來發展，許劍龍希望「水墨現場」可以每年舉辦, 以繼續弘揚有著悠長的歷史與人文厚度的水墨畫。而「水 墨現場」雖然要打破侷限，卻不是要爭取具侵略性的話語 權。「以前有媒體會形容東西文化，就像一個民族在環境 中的抗衡，但我覺得兩者是共生，在共存空間之下，發出 聲音引起人關注。」
NEW ART NOW 歷史建築物裏的 新生代展覽 Text 文 ｜Zheng Tianyi 鄭天依
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德校園前身為英國皇家空軍軍官俱樂部，後成為香 港警察偵輯訓練學校，為政府一級文物保護歷史建 築物，後成為浸會大學視覺藝術院的教學大樓及工作室,啟 德校園視覺藝術院畫廊就位於此，提供場地給學生和舊生 舉辦展覽，並策劃及推動一系列充滿活力及創意的計劃， 包括藝術家駐場計劃、展覽、工作坊、講座、導賞、放 映、書籍出版及網上資源等。
Thirdteen ways to kill you, Sammi Mak Wing Sum, 390x300cm
New Art Now是翻新後的啟德校園視覺藝術院畫廊首個展 覽。將展出畢業於香港浸會大學藝覺藝術院的五位新晉藝 術家的作品，包括黎朗生、陳偉傑、韓佳希、麥穎森和吳 漢曦，他們分別由任教於此的藝術家提名，以呈現新生代 的創作面貌。 參展藝術家創作的媒介十分多元，包括油畫、攝影、錄像 及裝置等。例如韓佳希的作品《海的比喻》是一系列分佈 在展廳裡不同形式的創作，其中藝術家以讀詩的現場行為, 海和家鄉風景的錄像投映，以及一塊以她家鄉的藍染方法 染成的藍布為主，構成一場在空間、時間和大自然中尋找 自己的旅程。陳偉傑和麥穎森則以繪畫為媒介，探索視覺 及心理於圖像之間的躍動；而黎朗生的創作常以非慣性的
Seoul Auction
一覽當代韓國藝術——首爾拍賣在香港 Text 文 ｜Zheng Tianyi 鄭天依
Every Cloud, Sunday Lai Long Sang
手法表達一些日常的慣性活動，作品多以行為、錄像為 主；吳漢曦則是經常以身體力行的創作方式，以攝影回應 不同社會議題。 展 覽 同 期 將 舉 辦 一 個 公 開 講 座 《 D e ve l o p i n g M i d d l e Ground》，探討實驗性藝術家營運的展覽場地於香港和國 際間的不同模式。講座時間為3月29日星期五6時至9時，於 啟德校園視覺藝術院畫廊進行。
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The metaphor of the sea, Han Jiaxi
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23 March - 5 April, 2019 香港浸會大學啟德校園畫廊 (香港九龍觀塘道51號啟德校園)
（Yoshitomo Nara）的作品一併展出，為收藏家與藝術愛 好者提供收藏頂級藝術品的機會。
又
到了藝術事件緊鑼密鼓的三月，今年同期進行 的多場藝博會和拍賣會中，韓國現當代藝術正 嶄露頭角，其中更以剛落戶中環H Queen's的首爾拍賣 (Seoul Auction)SA+畫廊為首。近幾年來首爾拍賣為香港 的收藏家和觀衆引介了許多韓國現代和當代藝術作品，更 位居韓國拍賣市場居領導地位。首爾拍賣(Seoul Auction) 於去年11月25日舉行「現代及當代藝術」香港秋季拍賣 會，總成交額高達1億3千萬。而在今次香港巴塞爾藝術展 期間，首爾拍賣行將在SA+畫廊舉行第28屆香港拍賣會。 自2008年以來，首爾拍賣一直努力將當代韓國藝術家走向 國際市場，包括金煥基（KimWhanKi）、李禹煥（Lee UFan）和朴栖甫（Park SeoBo）等大師級作品，同時也有 吳受桓（Oh SuFan），朴英男（Park YungNam）等當代 韓國藝術的代表人物輪流在SA+畫廊展出。是次拍賣將會 展現跨國際的現當代藝術作品，除了金煥基和李禹煥兩位 韓國藝術家，更有草間彌生（Yayoi Kusama）和奈良美智
他們更期望SA+畫廊進駐H Queen's後，可以為韓國藝術和 藝術家在國際市場上建立了更加響亮的知名度。SA+畫廊 將會作為國際門戶，繼續匯集和推廣韓國和其他優秀的藝 術作品。
+data 28th Hong Kong Sale Auction 29 March, 2019 Preview - Seoul 13 - 18 March, 2019 Seoul Auction Gangnam Preview - Hong Kong 23 - 29 March, 2019 SA+首爾拍賣香港 (中環皇后大道西80號H Queen's 11樓)
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Issue 082 February – March 2019 第八十二期 二零一九年二月至三月
2019 年 2 月-2019 年 3 月號
Publisher｜ Tam Wai Ping 譚偉平
第82期書評
Editor in chief Anthea｜ Fan, Wen-Jen 樊婉貞 Consultants ｜ Taiwan 臺灣 林芳宜、姚瑞中、焦元溥、張鐵志、鄒之牧、鴻鴻、顏忠賢 Hong Kong 香港 又一 山人、梁 文 道、何 兆 基、羅 維 明（依 姓 氏 筆 畫 順 序 排列）
一
開始被此書吸引，除了因為作者是知名的法國漢 學家朱利安之外（François Jullien，中文界也譯成 余蓮、于連），主要是書名顯然預告著一場可期待的啟蒙 之旅：作者企圖從「去相合」當中產生至少對我個人而言 最重要的兩個概念：藝術與存在，此事非同小可。其中 「存在」又被翻譯為「暢活」，是否有過度翻譯的嫌疑？ 諸如此類引人入勝但也挑起疑問的節點已在書名湧現。本 書的譯者卓立，目前在法國負責「朱利安哲學基金會」的 聯繫工作，翻譯過程中也能夠與朱利安本人親自釐清文本 疑難之處，因此造就出極佳的翻譯品質。卓立著有《暢活 存在：進入朱利安的思想》一書，介紹朱利安四十個重要 的概念。讀者可一併參考。
Feature Writers ｜ Human Wu 吳鐵志、Derek Chien、Ray Leung、Roan Ching-yueh 阮慶岳、Li, Yin Jhang 李寅彰、Yi-Chen Hong 洪儀真、Zheng Tianyi 鄭天依
Office ｜ Taiwan 臺灣 Liya Lee 李俐亞 Hong Kong 香港 Klaire Chan 陳紫盈、Zheng Tianyi 鄭天依、Jessie Tam 譚綽琳 Translator ｜ Phoebe Cheng 鄭凱靈、Bernard Yeung 楊承謙、Wong Sue Yi, Snowie 黃雪怡
DÉ-COÏNCIDENCE D’OÙ VIENNENT L’ART ET L’EXISTENCE
去相合: 自此產生藝術與暢活
Design ｜ Jui-yu Hsiao 蕭睿妤、Rainbow Yam 任倩姮
作者：朱利安（François Jullien）｜譯者：卓立 ｜ 出版 社：開學文化｜出版日期：2018/08/31
Art Map Limited 藝術地圖有限公司 Taiwan 臺灣 No.27, Lane 1, Section 4, Chengde Road,Shilin District, Taipei City, Taiwan 111 台灣台北市士林區（111)承德路四段1巷27號 E /press@artmap.com.hk advertising03@artmap.com.hk T/ 886 2-2885 1088
Text 文 ｜Yi-Chen HONG 洪儀真
YI-CHEN HONG 洪儀真 洪儀真，法國巴黎高等社會科學院藝術社會學博 士，東海大學社會學系兼任助理教授
Hong Kong 香港 Rm 602, 6/F. Winfull Commercial Building, 172-176 Wing Lok Street, Sheung Wan, Hong Kong 香港上環永樂街172-176號永富商業大廈6字樓602室 E/ advertising@artmap.com.hk editorial@artmap.com.hk T/ 852 2892 1998 中華郵政台北雜字第1859號執照登記為雜誌交寄 2019@Art Map Ltd. all rights reserved版權所有
Rights & Permissions 《art plus》由藝術地圖有限公司發行，是一本每月出版的 刊物，每逢一號上架。雖然我們小心翼翼、一遍又一遍地尋 找遺失的文字、搜索出錯的可能性，然而閣下如對本刊物有 任何意見，歡迎賜教以便我們可以改進。本刊不代表個別 作者及廣告商的立場，如有雷同，實屬巧合……本刊圖文皆 有版權，未經授權，不得擅自複印全版或部份內容。如欲轉 載，須獲許可，請與我們聯繫。 art plus is a monthly magazine published by the Art Map Limited on 1st of the month. Although we have spent considerable efforts and time in editing our text to avoid errors, we welcome readers' suggestions for further improvement. This magazine does not represent the viewpoints of any individual writer and advertiser. It would be a coincidence if similar information is found in other publication. We reserve the copyright of all pictures and texts, and you will risk copyright infringement if any of our published materials are being used without our consent. For information about permission to reproduce selections from this magazine, please contact us. 勘誤聲明 本刊第82期未善盡編輯及設計校對之責，發生以下數處錯 漏，特向客戶、作者及讀者致歉。 1. P.026-027專題文章「沉浸式場域中的表演與觀眾角色 變遷」作者為汪俊彥 2. P.057文章題目正確為「宜蘭椅國際設計大賞宜蘭椅 打 造在地創意 行銷城市品牌」 3. P.058-059文章「設計業：一座城市的DNA 本地設計 業該如何把握機遇？」作者為潘希橋，圖片為香港出口商 會提供。
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「去相合」是什麼？要掌握這個概念，必須先瞭解兩個關 鍵單字的演化： (1) coïncidence（以英文來理解亦然）現今 意指偶然遇到、同時發生、巧合，以及「落在」一起。然 而朱利安更依據的是該單字最早的意涵：幾何當中線與線 或面與面的重疊，是雙方的完全符合，滿足且毋需增減。 然而穩定與偶然彼此是矛盾的。正是這個單字自古以來相 互矛盾的多義性，成為朱利安論證的根據。其中穩定性的 符合與適應(以幾何上的重疊所作的比喻)，是作者主要批判 和解構的對象，那是一種安逸而僵滯的「相合」狀態，也 可理解成與環境及規範之間良好的適應協調。單字內含的 另一分歧意涵：偶然的突發性，則形成coincidence從內部 產生的分歧與裂縫，動搖了安穩而不再具有其他可能性的 穩定，此時的裂開與反面性，便是「去相合」的契機。對 朱利安而言，宇宙萬物從起初就是去相合，因著去相合而 有了各種創造與演化；（2）exister（存在），其拉丁文本 義最能說明「去相合」一詞：ex-sistere是挺立於某事物之 外的意思，sistere則意指停止、停下。以朱利安的語言重述 的話，ex-sistere亦即「挺立於具有負面意義的正面適應和 穩定停滯狀態之外」，或「脫離不再具有活力的飽和」。 如此才能解救「己」的困頓，開啟主體的無限可能，因而 得以「暢活」存在。去相合理論所帶出的暢活，在藝術創 作的領域裡體現為超越傳統刻板典範之舉，現代主義藝術
因此成了「去相合」的最佳代言人。在藝術史上此舉並非 前無古人，然而現代主義式的質問牽涉藝術存在的最基進 提問，因而與去相合精神最「相合」。 最後這一句話我說得矛盾，然而本書的優點與疑點似乎也 是如此弔詭共存：首先，它具有思維的啟發性與實踐的勵 志性：從哲學脈絡裡打通一條富有生機、鼓勵差異及反面 性的思路。去相合也是生活的，非純然形而上學。然而務 實而言，去相合成為精神導師的可能性，仍遠勝於成為實 作教練的機率。「拆解」主義式的無邊無際，其實並無法 充分解釋個人及群體對於明確感與歸屬感的需求。更重 要的是，社會集體生活的種種限制，經常讓「脫離僵滯」 一事只能止於紙上談兵；或許這正是朱利安大聲疾呼的緣 由。 其次，朱利安大量參照古今西方哲學家相似的概念進行對 話，從古希臘哲學到解構主義者德希達(Derrida)的「延 異」（différance），朱利安創造了一場眾星雲集的存在 之辯。但是對於「去相合」作為藝術史發展的動力之闡 釋，尤其是具體作品的解析，「去相合」的解釋力仍見其 侷限，至多闡述了藝術求新(le nouveau)的精神動力與原 則，卻對於藝術界的慣例(convention)與創新(originality) 之間的辯證關係，未能細緻而具體申論，終究還是框限於 形而上學的理論探討模式。這一點或可參考藝術史學家 豪澤爾(Arnold Hauser)的《藝術史的哲學》(1958)，此 書對於藝術史中「相合」與「去相合」——若以朱利安的 用語來講的話——這兩造之間看似衝突、實則相依共存的 力量，豪澤爾運用的分析史料堪稱充足，採行的辯證法也 具備活力。但是讀者千萬不能誤以為朱利安對於「相合」 與「穩定」是極端拒斥的，若以其理論推演，如果能夠持 續處於自由暢活的狀態裡，那麼，與周遭或某個規範相合 並非是原罪。問題在於，這樣的境界於人生此岸難以恆存 吧，否則人類的思維怎麼會創造出那麼多版本的烏托邦？ 米蘭‧昆德拉又怎麼會道出「生活在他方」呢？
第82期書介
ZEN IN THE FIFTIES-INTERACTION IN ART BETWEEN EAST AND WEST
THEATRE NARRATOLOGY: SEVEN THESES OF PLAY ANALYSIS
作者：海倫．威斯格茲（Helen Westgeest） ｜譯者：曾長生、郭書瑄｜出版社：典藏 出 版社｜出版日：2018/09/25
作者：何一梵｜出版社：揚智｜ 出版日期：2018/12/30
作
作
禪與現代美術：現代東西方藝術互動史
者以嚴謹的藝術史學家研究態度，探 討五O年代西方現代藝術界與日本禪 文化之間的交會與互動。禪與現代主義藝術 皆屬抽象，本身不易查考。然而作者以其系 統性的治學之方，不僅清楚交代了日本的禪 文化如何傳遞到西方領土，也集中討論藝術 創作深受禪文化影響的美國、法國及德國藝 術家，包括John Cage、Yves Klein等人。 而除了西方藝術界受到禪的啟發之外，日本 藝術家也同樣受到西方現代藝術的啟發，主 動探討自身禪文化與西方現代藝術間的關 係，因而交錯出中西藝術與文化特殊的感通 模式。本書每章註解少則百則，多則近三百 則，並有詳盡的附錄與參考書目，不啻禪與 現代美術的研究佳作。
劇場敘事學：劇本分析的七個命題
者為臺北藝術大學戲劇學系教師， 從長期的劇場及教學經驗累積出對 於劇場特有的敘事進行七個命題的分析：分 別是觀眾、可能性、結構、時間、缺席、表 演、土地。並刻意區分劇場中的敘事不同於 小說、電影或電視，本書並非從敘事理論中 汲取觀念而後運用在劇場上，而是討論劇 場本身敘事的特殊性。內容不乏對於劇場 敘事的重新定義，例如「敘事最後由觀眾完 成」。處理的戲劇類型跨時長遠，從古希臘 的悲劇，到二十世紀的末皆涵蓋，梳理了西 方戲劇史中的敘事發展。本書含有習作的練 習，可讓讀者藉由作答，進一步思索作者所 提出的命題與觀念。
ANIMALS AS MIRRORS 以動物為鏡：12堂人與動物關係的生命思辨 作者：黃宗慧｜出版社：啟動文化｜ 出版日期：2018/10/08
與
動物相關的學術議題近年來方興未 艾，尤其脫離了人類中心思想觀之 後，對於周遭環境包括動物的反思，產生了 更為基進的反省。本書以臺灣大學外文系教 授黃宗慧的通識課「文學、動物與社會」為 基底，透過閱讀外國文學經典以探討人與動 物的關係，並採取跨領域的研究路徑，讓文 學、哲學與社會學進行對話，把動物的議題 從科學生物研究的範疇，轉為從人文社會的 角度探勘。作者除了使用文學之外，也涵蓋 動畫、廣告等流行文化，分析當中動物的角 色意義。作為致力於動物保護工作的一員， 黃宗慧分享了個人相關的經驗，藉由文學分 析、文化觀察與己身生命體驗的融合，嘗試 打開一條保護環境整體的生命倫理思路。
THE ART OF CITY SKETCHING A FIELD MANUAL 建築素描：從入門到高階的全方位教本 作者：麥可‧阿布拉姆斯 (Michael C. Abrams) ｜譯者：吳莉君｜出版社：本事出 版社｜出版日期：2018/09/26
作
為一本建築素描的教本，作者引導讀 者如何有結構地進行繪圖練習。將素 描先按照程度分為初階的正射投影、中階的 立體投影以及高階的感知投影，再以總共八 章的內容進行建築繪圖練習，不僅是為了捕 捉到物件及其周遭環境的性質，也加入描繪 者的思考訓練，不只是客觀記錄建築環境， 甚至能探索自身的創意潛能與批判力。作者 並不以訓練制式標準繪圖為宗旨，而是希望 學習者發展出自身的繪圖風格。本書除了適 用於建築相關專業的學習者之外，也能啟發 從事設計、空間規劃等其他領域的讀者，亦 能刺激日常生活觀察的空間覺知。
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