Bachmann/Banz "Ting Bu Dong"

2

目 录

CONTENTS

画作 Paintings

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听不懂 作者：阿兰·史密西

Ting Bu Dong

By Alan Smithee

78

图像的引意 作者：箫岭

Suddenly an Image – Other Points of Fascination

本画册为Bachmann/Banz个展《听不懂》而出版 2006年12月9日至2007年1月27日于北京麦勒画廊展出 2007年12月1日至2008年1月19日于卢森麦勒画廊展出 This Catalogue was published on the occasion of Bachmann/Banz’ solo exhibition: Ting Bu Dong at Galerie Urs Meile, Beijing, from December 9, 2006 to January 27, 2007 Galerie Urs Meile, Lucerne, from December 1, 2007 to January 19, 2008

By Nataline Colonnello

84

装置 Installations

95

简历 Biography

106

感谢 Acknowledgements

108

版权 Colophon

110

画作 Paintings

我的四十岁生日

My 40th Birthday

棉布丙烯画 131 x 182 cm 2002-2003

acrylic on cotton 131 x 182 cm 2002-2003

6

当我开火的时候

As I Opened Fire

棉布油画 135 x 200 cm 2004

oil on cotton 135 x 200 cm 2004

8

9

我射杀了一个肯尼迪 (活结)

I Shot A Kennedy (Slipknot)

棉布油画 135 x 190 cm 2004

oil on cotton 135 x 190 cm 2004

10

11

双筒望远镜

Les jumelles

棉布油画 143 x 208 cm 2005

oil on cotton 143 x 208 cm 2005

12

上帝的人 (里克·鲁宾)

Man Of God (Rick Rubin)

棉布油画 145 x 290 cm 2006

oil on cotton 145 x 290 cm 2006

14

15

背光

Contre-jour

棉布油画 146 x 118 cm 2006

oil on cotton 146 x 118 cm 2006

16

17

共和主义者 (丹尼斯·霍珀)

The Republican (Dennis Hopper)

棉布油画 195 x 265 cm 2005

oil on cotton 195 x 265 cm 2005

18

19

上帝在路上叫我的名字(柯特·科本)

The Gods On The Street Have Called My Name (Kurt Cobain)

棉布油画 115 x 95 cm 2005

oil on cotton 115 x 95 cm 2005

20

21

呐喊

Der Schrei

布面油画 75 x 120 cm 2006

oil on canvas 75 x 120 cm 2006

22

23

青瓜吧 (箫岭与未未)

Cucumber Lounge (Nataline & Weiwei)

棉布油画 60 x 75 cm 2006

oil on cotton 60 x 75 cm 2006

24

25

最后一个抽烟的人 (约翰·福特)

The Last Smoker (John Ford)

棉布油画 154 x 124 cm 2005

oil on cotton 154 x 124 cm 2005

26

27

双重的 (托马斯·品钦)

Double (Thomas Pynchon)

棉布油画 60 x 80 cm 2006

oil on cotton 60 x 80 cm 2006

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29

小女鬼

Fantômette

棉布油画 50 x 60 cm 2006

oil on cotton 50 x 60 cm 2006

30

31

32

发射

Projection

棉布油画 38 x 46 cm 2006

oil on cotton 38 x 46 cm 2006 33

车库

Garage

棉布油画 60 x 75 cm 2005

oil on cotton 60 x 75 cm 2005

34

35

生死登记员

Registrar Of Birth And Death

棉布油画 105 x 130 cm 2005

oil on cotton 105 x 130 cm 2005

36

37

比赛最高纪录

Race Records

棉布油画 130 x 105 cm 2004

oil on cotton 130 x 105 cm 2004

38

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伊丽莎白

Elisabeth

棉布油画 115 x 95 cm 2005

oil on cotton 115 x 95 cm 2005

40

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门户 (Charles 张朝阳)

Le portail (Charles Zhang Chaoyang)

布面油画 160 x 200 cm 2006

oil on canvas 160 x 200 cm 2006

42

十字架

La croix

棉布丙烯画 135 x 200 cm 2003-2006

acrylic on cotton 135 x 200 cm 2003-2006

44

45

映象

Réflexion

棉布油画 46 x 55 cm 2006

oil on cotton 46 x 55 cm 2006

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47

死岛

Toteninsel

棉布油画 50 x 60 cm 2006

oil on cotton 50 x 60 cm 2006

48

49

廷巴克 3

Timbuk3

棉布油画 250 x 385 cm 2005

oil on cotton 250 x 385 cm 2005

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突然这个看法

Suddenly This Overview

棉布油画 140 x 200 cm 2004

oil on cotton 140 x 200 cm 2004

52

53

伏击 (邦妮和克莱德的杀手)

Ambush (The Killers Of Bonnie & Clyde)

棉布油画 150 x 360 cm 2006

oil on cotton 150 x 360 cm 2006

54

55

仙人掌 (尼克松与猫王)

Kaktus (Nixon & Elvis)

棉布油画 150 x 195 cm 2006

oil on cotton 150 x 195 cm 2006

56

57

死刑宣判 (查尔斯·曼森姑娘)

Death Sentence (The Charles Manson Girls)

棉布油画 150 x 215 cm 2006

oil on cotton 150 x 215 cm 2006

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比他自己的影子走得更快的人 (帕布罗·毕加索)

L’ homme qui tire plus vite que son ombre (Pablo Picasso)

棉布油画 290 x 250 cm 2006

oil on cotton 290 x 250 cm 2006

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靶子

La cible

棉布油画 38 x 46 cm 2006

oil on cotton 38 x 46 cm 2006 63

望远镜

La longue vue

棉布油画 145 x 315 cm 2006

oil on cotton 145 x 315 cm 2006

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65

金高原

Le plateau d’or

棉布油画 145 x 325 cm 2005-2006

oil on cotton 145 x 325 cm 2005-2006

66

67

画

Painting

棉布油画 60 x 75 cm 2006

oil on cotton 60 x 75 cm 2006

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69

芬斯特腊尔霍恩峰

Finsteraarhorn

棉布油画 38 x 46 cm 2006

oil on cotton 38 x 46 cm 2006

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71

听不懂 (泰勒与兹拉)

Ting Bu Dong (Taylor & Zira)

布面油画 390 x 300 cm 2006

oil on canvas 390 x 300 cm 2006

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三女神

Les trois Grâces

布面油画 78 x 63 cm 2006

oil on canvas 78 x 63 cm 2006

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文章 Essays

听不懂

Ting Bu Dong

论卡萝莉内·巴赫曼与施特凡·班茨的作品

On the works of Caroline Bachmann and Stefan Banz

作者：阿兰·史密西

By Alan Smithee

泰勒与兹拉

例如，人性在这里既得到了生动刻画又被揭示为本质荒诞。一

Taylor and Zira

个人类亲吻一个猿猴（后者实际上也不过是一个披上了伪装的人 在著名的经典影片《人猿星球》（1968年）中，宇航员泰

类！），这样的事实一方面唤起了对于他者，对于异类，对于动

勒（查尔顿·赫斯顿饰），与他的组员一起陷入了沉睡，不知不

物的尊重，同时却又是让人恼怒惹人厌恶的。也许很多人都会有

觉中以接近光速的速度跨越了两千年的时光，来到了未来。醒

那么一刻觉得受到了羞辱。我们的存在包含着的悖论在这里通过

来后，他们紧急迫降在一个“遥远”的星球上。这个星球上不会

一种独特的形式得到了展现。《听不懂》，很多时候我们在自

说人话的居民偷走了他们所有的装备。紧接着他们就遭到了一群

己的世界里其实一无所知，尽管我们总是假装自己懂得一切。

高度发达的会说话的大猩猩的袭击，在手无寸铁的情况下连连受

因此我们可以躬身自问：这一个吻是面对异类时，一种和平、

到侵害。泰勒自己受了伤，被装入了一个猿类城市的动物园笼子

尊重和爱的信号吗，所谓的同一个世界同一个梦想？或者这昭

里。在这里他遇到了喜爱人类的黑猩猩兹拉（金·亨特饰）。后

示的是整个社会即将沦落的境况？也许是面具之后的藏匿，也

者将他解救了出来。在共同逃往“禁区”的途中，他们发现了一

许是真诚不讳的道白。但是，这幅画不正是既怪异又诙谐，既

个布满遗迹的洞穴，这个洞穴暗示着高度发达的人类文明遗留下

充满讽刺也带着戏剧化的效果的吗？对于生命以及生命中包含

的痕迹。满怀感激之情的泰勒在这里与兹拉告别，在她的唇上留

的艺术、演艺、真相，我们究竟可不可以那么较真呢？实际

下了温柔的一吻，然后继续前行。不久之后他就看到了倒塌的自

上，这一幅画首先是一种启示，一种触发思考的契机，它让我

由女神像，意识到他来到的正是两千年后的地球，这时候人类文

们自己探求合适的答案。

In the motion picture classic Planet of the Apes (1968) the astronaut Taylor (Charlton Heston) travels some two thousand years into the future, at approximate light speed and kept in an artificial coma together with his crew. At one point they are forced to make an emergency landing on a “faraway” planet where humans who communicate in grunts steal all of their equipment. Soon after this mishap, they are attacked by a group of highly developed talking gorillas who hunt them down like wild game. Taylor is injured and finds himself caged in the zoo in a city of apes. There he meets the chimpanzee female Zira (Kim Hunter) who likes humans and sets him free. During their escape into the “forbidden zone” they chance upon a cave full of artifacts that indicate an advanced human civilization. Taylor takes leave of Zira, kisses her softly on the mouth and rides away. But only a little later he stands agape, looking at the sunken remains of the Statue of Liberty, and realizes that he is in fact back on Earth, where man-made civilization has been obliterated by nuclear war in the meantime.

明已经被一场核战争摧毁了。 卡萝莉内·巴赫曼和施特凡·班茨对于世界以及世界如何 泰勒与兹拉的告别之吻是卡萝莉内·巴赫曼和施特凡·班

被我们所感知有着细致微妙的观察。他们关注日常生活、文化和

茨所创作的《听不懂》的原型，这个作品也是他们迄今为止做

政治中的社会运行机制，促成这样的运行机制的则是摄影、电

过的最大尺寸的绘画作品，为390 x 300 cm。这一幅作品可以说

影、网络和杂志。他们同时也考察在媒介和语境发生变换时所传

是他们从2004年以来合作创作的一系列作品中的代表之作，集

达内容的丢失、伪造和误解。图像可以传达什么？对熟悉的素

中体现了他们的艺术观念。这一幅具有社会政治意义的作品，

材和主题稍作改动或者推移，或者让其与脱离原先语境的陌生因

通过具有符号特征的题材展示了不同的存在意义层面。这幅

素相结合，或者对其进行了增删之后，让它们作为绘画作品重新

画面最初的形式是一次影视表演，是人工化的产品，而在作品

出现，这个时候又会发生什么呢？原先的内容和表述会发生怎样

中，这一画面却被转换成了纪念碑似的宏大形象，在颜色使用

的变化？对于我们这些观者又会产生什么作用呢？在这里引人注

上两个角色形成了不同寻常的对比。在这里，本身无甚希奇之

目的首先是这些再熟悉不过的画面和人物形象。他们如此广为人

处的爱慕动作被转化为了一个戏剧性的意味丰富的演绎形式。

知，以至于他们的内容早已被淘空，在某种意义上来说已经成为

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The parting kiss of Taylor and Zira is the model image for Ting Bu Dong, the hitherto largest-sized painting (390 x 300 cm) by Caroline Bachmann and Stefan Banz. One might call this work, representative of all their jointly created art since 2004, a perfect example of the concept of these two artists. It is a sociopolitical piece that points to a number of different strands of existential meaning with its emblematic subject. The painting in its original form is a staging, an artificial production which here, in its monumental realization and the bewildering contrasts between the characters achieved by the coloring, transforms an essentially harmless gesture of affection into a dramatic and multi-layered presence. The expression of humanity, for instance, is thus both celebrated and reduced to absurdity. The fact that we watch a human kissing an ape (though really just a human in disguise) generates, on the one hand, some-

thing like respect towards the Other, the alien and the animal, but at the same time it feels irritating and repulsive and maybe viewers catch themselves for a moment in their own embarrassment. The paradox of our existence is taken to a significant form of expression here. Ting bu dong — often we do not understand a thing in our world even though we pretend to understand everything. We might ask questions such as, Is this kiss a sign of peace, of respect, of love for the most wildly different forms of being—“one world, one dream”— or is it rather an indicator of a deeply decadent society?

Does it mean hiding behind a mask or does it make a straightforward statement? But is it not a rather funny, ironic, humorous, and theatrical sight? Can life—and included in it: art, theater, or truth—be taken that seriously at all? The painting is therefore primarily an impulse, a generating force, and leaves us to draw our own conclusions from it.

Caroline Bachmann and Stefan Banz are sensitive observers of the world and also of how we perceive it. They are interested in the social mechanisms in everyday life, in culture and politics, which are communicated by photography, film, the Internet, and magazines. Above all, they explore the lost elements, the falsifying, the misconceiving of material by its transformation into other media and contexts. What can images convey and what happens when familiar subjects and themes reemerge—ever so slightly altered or modified, or associated with extraneous elements, or with certain aspects added or omitted—in the world of painting?

In what way does this change the content and what effect does it provoke in us, the beholders? The artists devote particular attention to images or persons who are so well-known that they have in fact long been devoid of any content, representing somehow mere formulas of recognition for concepts such as success, power, beauty, or appearance. This creates explosive paintings which oscillate wildly between the emotions, effectively undermining our very sense of security.

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成功、威权、美和虚荣的识别符号。而对这些符号的把玩就催生

各异、含义丰富的元素导致了多层次和多义性的解读。政治威

出了具有惊人效果的绘画作品，这些作品始终在各种感情的交集

权持有者，纳粹种族灭绝行为的受害者，波普艺术的英雄在画

中徘徊反复，让我们陷入深深的迷惑之中。

面中并存不悖。世界历史与个人历史交汇而当下的事件与二战 历史形成呼应，而且间接指向了越南战争。六十年代，里希滕 斯泰因的美国正是笼罩在越战的阴影中。这一种强调观念的图

当我开火的时候

像语言在这里将不同的层面、时代和语境糅合在了一起，并且 以幽默诙谐的方式刻画了我们这个时代的社会政治景象。

虽然卡萝莉内·巴赫曼和施特凡·班茨2004年6月才决定 要进行共同创作，但是实际上他们的合作可以说在一年之前就

两位艺术家自己创作的多是大尺寸的绘画作品，现在这种

已经开始了。这就是题为《我的四十岁生日》的作品。这一幅

偏好得到了延续。在下一部作品《我射杀了一个肯尼迪》中，他

作品是为班茨在卢森附近的克里恩斯举办的个展《一颗简单的

们画的是美国的重金属摇滚乐队活结。这一个乐队总是戴着面具

心》而作的。这件绘画作品展示的是穆罕默德·阿塔在2001年

出场，喜欢在舞台上制造相当有戏剧感的轰动场面。在新千年的

9月11日通过机场安全检查，从而踏上不归路的情景。这一画作

开端，他们在西方舆论界颇受非议，人们认为他们以“过激”的

的触发点是，9月11日恰好是施特凡·班茨的生日，而画中的主

歌词和“颓废”的演出教唆青少年滥用暴力。在前几年，甚至有

题正是这一场浩劫的关键时刻。如果当时阿塔和他的同谋未能

人影射他们对当时美国和德国中学中大量的持凶滥杀事件负有部

通过安全检查，这一天也许就会完全不一样，而世界的进程也

分责任。但是只要是亲身经历过活结乐队的演出的人，都可以看

许将完全走向另外一个方向。这一幅再现世界当代史上这一关

到，这些责难很难自圆其说。他们的舞台表演如此夸张和荒诞，

键时刻的画作就其画面本身来看却似乎显得平淡无奇。如果人

以至于更接近喜剧性的效果，而不会形成对社会的实质性危害。

们不知道，现在入关的是阿塔，如果画面的左上角没有标明录

这一件作品的构思与《当我开火的时候》恰成对照，画面上同样

像拍摄时的日期和时间，也许这幅图画就不会引人注目。一个

可以读到一个文本，这是著名的艺术家莱蒙德·贝蒂伯作品中的

看似平常毫无异状的情景却隐藏着一种难以触摸的罪行，这正

一段话，话的开头是一个问题“我射杀了一个肯尼迪，你干了什

是两位艺术家的用意所在。在他们看来，一幅画面不仅仅是展

么？”同样的，这里不同的层面也互相结合在了一起，激发出了

示它表面所有的东西，它同时也在展示另外的不可见的东西。

一种介于惊恐与幽默，戏剧化与严肃，诱惑与威吓的强烈的感情

我们经常会遇到披着羊皮的狼，而以凶暴面目出现的，其实质

效果，其中传达的信息则是多义性的。

常常也不过是一只柔顺的绵羊。正是这种隐匿引起了两位艺术 家的兴趣，他们激发我们以不同的方式从多个角度来观察种种 事件。

在随后的作品中，登场的有电影明星如克林特·伊斯特伍 德、约翰·福特、丹尼斯·霍珀，历史人物如威廉·莎士比亚， 摇滚歌星如猫王、柯特·科本，艺术家如帕布罗·毕加索，作家

这两位艺术家合作的第一件作品是2004年夏天创作的《当

如托马斯·品钦，音乐人如里克·鲁宾，也有政治掌权者如菲德

我开火的时候》。画面上美国政府首脑人物在整体上形成了一

尔·卡斯特罗、理查德·尼克松、英国女王伊丽莎白或者近东的

团让人不安的黑色。在背景的墙上隐约可以看到在第二次世界

军事和政治领袖。这些人物都被安入了一个新的语境中，常常相

大战中在集中营里丧生的安娜·弗兰克的肖像画。而以文本形

互组合，通过相似性或者相关性暗中指向了当下的艺术界景况。

式出现的关于空军战十的残篇断章则是从罗伊·里希滕斯泰因

另外我们还可以看到三件以正义和邪恶、罪责和原罪、真理和谎

的一幅作品中挪用来的，这就形成了一种插图效果。这些形式

言为主题的作品：《伏击》、《死刑宣判》、《死岛》。

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As I Opened Fire Although Caroline Bachmann and Stefan Banz decided to work together only in June 2004, their cooperation had in some way already started the year before with a painting titled My 40th Birthday that had been made for Banz’ exhibition Un cœur simple at Museum im Bellpark in Kriens near Lucerne. It showed Mohammed Atta passing through the passport control at Logan Airport on the morning of September 11, 2001, on his way to his dastardly doings. What provoked this work was the fact that September 11 happens to be Stefan Banz’s birthday, and that the snapshot for him is something of a key moment for the 9/11 disaster. If Atta and his accomplices hadn’t succeeded in getting through this checkpoint, the day might have had a wildly different course and the fate of the world could have taken another direction. This picture, which shows a fatal moment in recent history, is nonetheless in itself entirely harmless. The image would be rather inconspicuous if we didn’t know that this is Atta who just went past the last barrier and if we didn’t have the date and time stamp of the video footage inserted in the upper left. So this intrinsically innocuous and unspecific scene conceals an unfathomable crime, which is just what the two artists had in mind with their portrayal. For them, a picture never shows merely what it shows but at the same time it always stands for something else, something it hides. And very often you encounter the wolf in sheep’s clothing, while aggressive behavior frequently disguises a meek lamb. This obscurity is what interests them, and they challenge us to take a good look at what we see in ever-changing ways and from several different viewpoints.

The first painting that their cooperation actually engendered was As I Opened Fire, created in 2004. It shows the principal players of the US administration grown together into a menacing black blotch. On the wall in the background we recognize the unassuming portrait of Anne Frank, the girl killed in a concentration camp during Word War II, while the snippet of an air-combat radio message borrowed from a Roy Lichtenstein artwork serves as the painting’s caption.

These discrete elements, each of which is loaded with connotation, prompt a multi-layered and plurivalent reading. Powerful political leaders, a victim of Nazi persecution and a pop-art hero converge in this work: world history confronting personal narrative, with current events finding an echo in World War II and, by a roundabout route, also in the Vietnam War which had a decisive influence on the 1960s and Lichtenstein’s America. These conceptually orient-

ed metaphorics bring into connection widely different levels, eras and contexts, while simultaneously drawing, with wit and humor, a sociopolitical picture of our time.

Their cooperation has continued in line with this philosophy, mostly with large-sized paintings. In their next work, I Shot A Kennedy, they portray the US trash metal band Slipknot who never goes onstage without masks, putting on a rather histrionic show. At the turn of the millennium, Slipknot was frequently accused by Western media of egging on adolescents to excesses of violence with their “extreme” lyrics and their “decadent” behavior. Several years ago, they were even indirectly given some responsibility for having been the primary cause for numerous runs amok at US and German schools—though whoever has been to a Slipknot concert will have trouble relating to this because their stage performance is so absurd and deliriously over the top that they come across more like an ensemble of comedians than a grave threat to society. As it was created as a sort of counterpart to As I Opened Fire, this canvas also uses written statements, taken from a work of the well-known artist Raymond Pettibon and starting with the question “I shot a Kennedy, what did you do?” Again, several levels are suggestively intertwined here, generating strong emotions between shock and humor, hysterics and seriousness, attraction and revulsion and leaving a message that remains ambiguous.

In their subsequent compositions we encounter movie celebrities such as Clint Eastwood, John Ford and Dennis Hopper, historic figures like William Shakespeare, rock stars like Elvis and Kurt Cobain, artists like Pablo Picasso, authors like Thomas Pynchon and music moguls like Rick Rubin, but also political potentates—Fidel Castro, Richard Nixon, Queen Elisabeth II or several military and religious leaders from the Middle East — all of them embedded in new contexts and quite often coupled with reminiscences or references to the current art scene. Apart from that, there are also—with Ambush (The Killers Of Bonnie & Clyde), Death Sentence (The Charles Manson Girls) and Toteninsel — three works covering the subjects of right and wrong, crime and punishment, truth and deception.

Toteninsel While Ambush displays the six sheriffs who were photographed and celebrated by the press in 1934 after gunning down Bonnie Parker

81

死岛

的涟漪破坏了水中影子的相貌。那科索斯误以为是自己变得丑 陋了，于是惊吓而死。死后，他的躯体变成了一朵水仙花。

在《伏击》中，我们看到的是六个美国三十年代的西部 警察。在1934年，他们用160多次机抢扫射当时著名的雌雄大

装置作品《那科索斯》是地面上的一个四方形的黑色区

盗邦妮和克莱德，将其击毙，后来被当时的媒体拍摄下来并且

域，实际是一个平整的水槽，大约5厘米高，盛满了水。在水面

大肆宣扬（在画作中他们站立在大卫·林奇电影中的迷失高速

上有一个约200厘米高的木材装置，上面安装了一个35毫米电

路的宾馆这几个字前）。而在《死刑宣判》的画面上，查尔

影摄影机模型，摄影机镜头朝向水中，似乎是在拍摄自己的倒

斯·曼森的杀人集团中的年轻女子正大笑着离开刚刚宣布完

影。自我与镜像，原型与拷贝，虚像与真实，对自我观赏的迷

审判结果的法庭。这两幅作品都揭示了暴力行动的荒谬性，

恋，对它者的逃避，转向内心的独语——这一切也可以是对好

一个是来自所谓执法的“正义”，另一个则是从非法的“邪

莱坞大电影业的写照。可是，摄像头真的拍下了自己吗？这个

恶”的角度，而实际上两者殊途同归。暴力始终是暴力，不管

摄影机是真的在工作吗，或者它不过是个摆设而已？在传统的

来自谁人之手。最后，在小型的绘画作品《死岛》中，对阿诺

艺术史中，雕塑作品始终是一种摹仿、一种拷贝、一种对存在

尔德·博克林作于1890年的同名画作的影射是明白可见的。

物的象征：受难基督，抱子圣母，圣者塞巴斯蒂安等等。丹尼

同时这幅作品又是对意大利北部的瓦洋特水库的惨剧的刻画。

斯·霍珀的令人难以忘怀的电影《最后一场电影》1971年在好

1963年，这座当时世界上最高的双曲拱坝失效，造成了巨大的

莱坞制作完成，但是在第一次试映之后就被撤回，再也没有投

灾难。这一灾难本来是可以避免的，因为当时的负责人知道，

入院线。在这部电影中，秘鲁的一个村庄的居民用木材制作了

一旦他们将过多水流导入水库就会造成山体滑坡。尽管如此他

一个摄影机模型，用它来拍自己的西部片，结果村庄中真的硝

们仍然听任水库中水暴涨，结果20万吨的岩体发生高速滑坡，

烟弥漫，枪声不绝，血肉横飞。我们看到的，绝不仅仅只是我

冲入水库，造成了高达280米的涌浪，像海啸一样席卷坝体，

们看到的。或者，真正发生着的，我们并看不到。

泄入山谷，造成了4000人丧生。不过在画作中并看不到这些惨 状。画面上是深夜时分，暗淡的月光洒在264米高的雄伟堤坝

同样的，在第二个装置作品《回声》中，涉及的同样是观

上。这座堤坝紧贴湖岸，巍然耸立。一艘轮船正恬静安然地驶

看的结果，还有反思，反思我们如何感知那些一开始并不为人

向这座庞然大物，为这充满了英雄气概的景观平添一份诱人的

所见的东西。如果我们没有登上这个黑色立方体250厘米高的梯

美感。

子，那我们看到的不过是四方形的黑色物体，而一旦我们鼓足勇

and Clyde Barrow with more than 160 machine gun rounds (in the painting they are standing in front of David Lynch’s Lost Highway Hotel), in Death Sentence we see the young women from the Charles Manson Family right after the judge’s decision, laughing their way out of the court room. Both works exemplify the absurdity of violence, once on the side of “justice” and once on that of “crime”—and in the two paintings there is indeed no difference at all. Violence is violence, no matter who commits it. Finally, the little piece Toteninsel presents us with a quotation of Arnold Böcklin’s famous painting from 1890 bearing the same title. At the same time, it alludes to the appalling catastrophe in the North Italian Vajont valley where in 1963 there was a momentous accident involving the highest arch dam of its time. The tragedy could have been prevented because several people in charge were well aware that as soon as they’d raise the water level behind the dam, an enormous landslide could occur. Even so, they let the water in and two hundred thousand tons of mountain crashed into the reservoir at an incredible speed, causing a flood wave of 280 meters in height to gush over the dam and down into the valley like a tsunami. The disaster took close to 4000 lives. On the painting, we see nothing of all this. It is night, and the moon casts a pale light on the magnificent retaining wall, towering 264 meters over the edge of a lake. A pleasure boat slowly and silently approaches the looming monster, bestowing a seductive beauty to the heroic landmark.

Narcissus and Echo

气登了上去，朝立方体的内部看去，那么我们看到的就是一个水 面上反射的我们自己的影像。这也正是我们的存在的根基所在：

那科索斯与回声

勇气、跨越、好奇心和自我反思，不如此无以存活。

卡萝莉内·巴赫曼和施特凡·班茨专为麦勒画廊创作的两 个装置作品《那科索斯》和《回声》，处理的是自恋和反照的

李双志 译

主题。在希腊神话中，那科索斯是河神科菲索斯和莱里奥普的 儿子，以美貌著称。根据传说，这个追求者众多的少年拒绝了 回声仙女的爱情。为此他受到了复仇女神的惩罚（一说是爱神阿

阿兰·史密西

芙罗狄忒的惩罚），对自己在水中的倒影产生了不可遏抑的爱

1967年诞生于好莱坞，同年便导演了第一部电影《Death of a Gunfinger》（1969年 上映）。初出茅庐之作，居然受到了媒体不少好评。《纽约时报》就曾如此评论该 片：“它出自史密西先生犀利的导演风格，他有最敏锐的触觉，仅仅一眼扫过人们的 脸庞就能够捕捉到最精准的背景细节。”《综艺》中这样写道“在史密西执导的电影 中，演员的表演非常紧凑；他能够将配角塑造成令人难忘的角色。”他的创作异常地 广泛而多面。多年来，他创作的作品种类和风格迥然各异，他制作过70多部电影和剧 本。今天，他是美国电影界最知名的人士之一。

情。这就验证了先知泰勒西雅斯的说法，即只有当他认不出自 己的时候，他才能享有长寿。有一天，他坐在一个湖边想观赏 自己的影子，忽然，在神的安排下一片树叶落到了水中，引起

82

The two installations Narziss and Echo that Caroline Bachmann and Stefan Banz created especially for the spacious rooms of Galerie Urs Meile in Beijing concern themselves with the subject of self-absorption and reflection. In Greek mythology, Narcissus was the beautiful son of the river god Kephisos and Leiriope. Legend has it that the much-wooed lad scorned the love of nymph Echo, in punishment whereof the avenging deity Nemesis (according to some other sources, Aphrodite) made him fall hopelessly in love with his own image reflected in the water. In this way, the prophecy of the blind seer Teiresias was fulfilled, according to which Narcissus would only have a long life if he never knew himself. One day, he sat by the lake to delight in his mirror image when, by divine intervention, a leaf fell into the water, creating waves that disturbed the reflection. Whereupon he died from shock at the intuition that

he was ugly (because the waves distorted his portrait). After his death he was transformed into a daffodil (Narcissus is the botanic genus of that flower).

The installation Narziss consists of a square black floor space—a shallow basin filled with some 5 cm of water. In the center of this liquid quadrangle there is a wooden construction of about 200 cm in height on which a 35 mm movie camera is mounted that is trained on the water and films its own reflection. Image and reflection, original and imitation, being in love with gazing at one’s own accomplishments, turning away from the outside world, communicating only within one’s peer group: all this might as well be a perfect characterization of great Hollywood cinema. But does the camera really film itself? Is it working or nothing but a dummy? Traditionally, the sculpture in art history has always been a replica, a reproduction, a symbol of something that exists in reality: Jesus on the Cross, Mary holding the Christ child, St. Sebastian full of arrows.

There is this unforgettable motion picture by Dennis Hopper, The Last Movie, produced by Hollywood in 1971 but never distributed after the first previews. In it, the inhabitants of a little village in Peru put together a dummy wooden camera to make their own Western movie in which they shoot each other with live ammunition and get into bloody fistfights. What we see is never only what we see. Or: what really happens may not be visible to us.

From that point of view, the second installation, Echo, is also about the experience of seeing and about the reflection of perceiving what is not perceptible at first. As long as we haven’t climbed the steps of the 250 cm high cube, we just see a rectangular black shape, and when we bring ourselves to go up and peer into the cube’s inside, we look onto a water surface returning our own reflection. That is the ultimate ground of our being—courage, conquering one’s fears, curiosity, and self-reflection in order to survive.

Alan Smithee Born in Hollywood in 1967, the same year he directed his first motion picture, Death of a Gunfighter (released in 1969). This debut feature film received high critical praise from the press. Thus the New York Times called it “… sharply directed by Alan Smithee who has an adroit facility for scanning faces and extracting sharp background detail.” And Variety wrote that “Smithee’s direction keeps the action taut and he draws convincing portrayals from the supporting cast.” His œuvre is exceptionally widespread and multifarious. Over the years, he has been working in the most diverse genres and styles, producing more than seventy pictures and screenplays. Today he is one of the most well known personalities in the US movie business.

83

图像的引意

Suddenly an Image – Other Points of Fascination

作者：箫岭

By Nataline Colonnello

这是每一个熟悉艺术领域的人都经常目睹或体验的情景： 观者在观看一幅画的时候出现一脸困惑，眼睛偷偷地从作品游

中，最重要的不是图像本身，而是我们所选择的主题：我们的大

Let’s imagine a situation that everyone familiar with the art scene

edged understanding of some specific facts, personalities, or of life

部分绘画是建立在误解之上的。”

regularly sees or personally experiences: the puzzled expression

in general, and prod new associative and critical approaches. “A

on the face of a viewer when looking at a painting, his/her eyes

painting never says the truth,” comments Banz sardonically, and

surreptitiously shifting from the artwork to the blank wall, in search

Bachmann adds “in our works the most important thing is not the

of a label with captions, or maybe even a salving explanation, as if

image itself, but the topic we choose: most of our paintings are

两个月，他们的经历在某种程度上类似于独眼巨人波吕斐摩斯的

those spare words could supply a hasty rescue from an awkward

based on misunderstanding.”1

悲喜剧式的沟通障碍，他向合唱团解释他如何被“无人” （尤利

declaration, whether public or private: “I do not understand.”

西斯）弄瞎了，巴赫曼和班茨也经历了一次小型的历险，因此他

If this is the case when viewing Stefan Banz and Caroline Bach-

Somehow reminiscent of the tragicomic miscommunication of Cy-

们把在中国的首个个展的名字定为“听不懂”。这对于不讲中文

mann’s joint works, their titles could provide you with tentative

clops Polyphemus, who explains to the Chorus how he was blinded

guidelines, or mislead you even more, since they are conceived

by “Noman” (Ulysses), during their two months working in the

just as a note, a written record of the attitude and the feelings of the

artist residence studio of Galerie Urs Meile in Beijing, Bachmann and Banz went through a small pun odyssey that resulted in the

1

离到墙壁上，寻找作品的标签，希望标签上的作品标题或一句 巴赫曼和班茨在北京麦勒画廊的艺术家驻村工作室工作了

对作品的解释能够尽快地为自己解围，摆脱尴尬的处境，而不 至于得公开或私下承认“我不懂”。

如果你在观看施特凡·班茨和卡萝莉内·巴赫曼合作创作 的作品时也有类似的遭遇的话，他们的标题往往能够为你提供一 些线索，但也可能对你产生误导，因为他们的标题仅仅作为一种

的观众来说听起来似乎陌生而神秘。班茨讲起一个与有意思的误

注解，或是记录艺术家对他们所描绘的图像的态度和感觉的一种

解有关的故事，这个故事是从一个传统的中医按摩开始的，他

artists in relation to the painted image. Often cunning quotes drawn

文本而存在。来源于文学、电影、音乐、艺术、新闻、日常生活

说， “我们躺着被按摩，面朝下对着沙发的一个洞，我们想试着和

from the most varied sources such as literature, cinema, music,

name of their first solo show: Ting Bu Dong, a title that could sound

等林林总总的巧妙的引用（比如，阿诺德·波克林的由五部作

一句英语也不讲的按摩者交谈，医生反复对我们说一句话， “听

art, news, daily life, to name a few, the titles (e.g. Toteninsel from

strange and mysterious to a non-Chinese speaking public. Refer-

品组成的同名系列中的《死岛》和尼尔戴蒙德的歌名《上帝的

不懂！听不懂！”听这句话听了15分钟后，我们学会了说这句

the homonymous series of the five works by Arnold Böcklin, or Man

ring to the story behind this amusing misunderstanding, which has

Of God, from the name of a song by Neil Diamond) serve as keys

its beginning in a session of traditional medical massage, Banz

to the varied and multi-layered visual references intrinsic to the

relates: “We were lying face down in the hole of the couch while

paintings, which are built on both emotional and theoretical bases.

having a massage, when we started talking to the masseur, who

Each work by Bachmann and Banz implies a stratified ensemble

did not speak English, and the only thing the doctor was telling us

of stories having multiple and unfixed meanings open to further

over and over was ‘Ting bu dong! Ting bu dong! Ting bu dong!’ After

personal interpretations by the viewer. Sometimes funny and ironic,

fifteen minutes you have it in your mind, you learn this sound, ‘Ting

人》）是理解他们在情感和理论的基础上所创造的绘画中内在

话。之后当我们问起中国人或会讲中文的人这句话的意思时，我

的、多层次的视觉指向的关键。巴赫曼和班茨的每件作品隐藏着

们总是被告知‘听不懂’。我们当时真的以为这些人听不懂我们在

多重的故事，具有多层次的和不确定的意义，可供观众任意阐

讲什么，后来才明白过来， ‘听不懂’的意思就是‘不明白’。”2

释。这些故事有时候有趣，带有讽刺意味，有时候比较严肃或甚 “听不懂”直译就是，“我听到了你在说什么了，但我不

至令人不安，他们的故事挖掘现实、历史、文化、个人和集体的 记忆，将政治家、电影和摇滚明星、罪犯、作家、导演、艺术

明白”，这是一句口语。因为巴赫曼和班茨创作的是视觉艺术，

sometimes more serious or disquieting, Bachmann/Banz’s stories

bu dong .’ When we asked somebody who is Chinese or can speak

dig into reality, history, culture, personal and collective memory, by

the language about the meaning, we were always helplessly told ‘I

家、景观和朋友们还原到现在的时空当中。对于与巴赫曼和班茨

也许“看不懂”（直译的意思是“我读过”或“我看过，但我不

taking back to the present a collection of politicians, movie and rock

do not understand.’ We really thought that these people did not un-

具有类似的社会、政治和历史背景的成长于60年代的北欧人而

理解”。）应该更合适作为他们展览的题目。巴赫曼指出，艺术

stars, criminals, writers, directors, artists, as well as landscapes

derstand what we were saying, and only afterwards we discovered

言，那些他们所熟知的几乎被忘却的经验和可疑的、神秘的事件

家作品的核心并不是绘画本身，或是观众的视觉体验，而是画中

and friends. Those half-forgotten experiences and questionable,

that ‘ting bu dong’ indeed means ‘I do not understand’!”2

通过熟悉的符号被重新唤起和认识。这些图像一旦被放置在一种

描绘的主体所提出的问题。换而言之，这些图像仅仅是巴赫曼和

mystifying events common to many who have the same socio-po-

Literally translated as “I hear what you say, but I am not able to

班茨的工具而已，为的是有效地抓住观众的眼光，引起对人类生

litical and historical background as Bachmann and Banz—both

understand,” ‘ting bu dong ’ is an expression connected to oral

Northern Europeans coming of age in the 1960s—are recalled and

language. If we consider that Bachmann and Banz are dealing

不可预知的视觉经验和观念的语境中，就会引起对已形成的视觉 记忆的扭曲，动摇对一些具体的事实、个人、或生活所公认的

存状态的思考，已及对历史上的社会和政治事件循环发生这一现

identified through recognizable symbols. Once combined in an un-

with visual art, perhaps ‘kan bu dong ’ (literally “I read it” or “I

理解，开辟新的联想和批评的角度。“一幅画永远都不说出真

象所隐蔽的权力游戏的思考。在他们的作品中，巴赫曼和班茨以

expected pictorial and conceptual context, these signs engender a

look at it, but I cannot get its meaning”), is a more suitable title for

相”，班茨不无讽刺地指出。巴赫曼也补充道，“在我们的作品

游戏的方式（完全不像奥森·威尔斯在《公民凯恩》中朦胧地谴

distortion of the predetermined visual memory, baffle the acknowl-

责） 84

their exhibition. As Bachmann has pointed out, the kernel of the artists’ works 85

责），揭示大众宣传体制中模糊、矛盾的方面，它的夸大其词的 声调，充满戏剧性的虚构、和对大众的操纵。

性地向外伸长。在《呐喊》中，人物之间没有任何接触，那个显

artists’ works is not the painting itself and its visual perception by

trays both of the subjects frontally and in the same expression of

得滑稽而残忍的是希特勒。

the viewer, but the issues raised by the portrayed subjects. The

rage – the man in the foreground and the ape in the background.

images, in other words, are nothing but tools Bachmann and Banz

For this painting, Bachmann and Banz resorted to two different

employ in order to effectively catch the observer’s attention and

illustrations borrowed from a book once used by Francis Bacon as

激进的讽刺、对权力的滥用、对权利的压制、科学实验、

泰勒和兹拉的亲吻曾经出现在施特凡·班茨一幅早期的作品

make him/her reflect upon the existential condition of mankind,

source material. Putting the figures together on the same surface,

种族灭绝，这些只是电影《人猿星球》中涉及到的几个主题。

当中。1994年，当班茨主要在从事摄影和装置的创作时，他被

as well as the invisible power games lying behind the cyclical re-

they removed a small but essential detail—the man’s moustache.

这是一部天启式的科幻小说和社会学分析，人和动物被调换等

邀请根据“未来的艺术”这一主题进行创作。班茨拍了一张“亲

currence of social and political events throughout history. In their

The man, who is none other than Adolf Hitler, once deprived of his

吻”的照片，翻印这张照片，将照片放大到复制所能允许的最大

works, Bachmann and Banz show, in a playful way (completely

emblematic moustache, looks strangely like a grown-up, naughty

unlike Orson Welles’ murky denunciation in Citizen Kane), obscure

boy; nothing in him suggests his xenophobic mania and his posi-

级，沉默、原始的人类被高级形态的市民——猿（猿当中被区 分为三个等级：大猩猩、猩猩和黑猩猩）所统治。人类宇航员泰

尺寸（88 X 88 cm）。这张照片引发了一系列的争议，有些人认

and paradoxical aspects related to the mass communication sys-

tion as the dictator of Nazi Germany. Instead of the badge with

勒和黑猩猩大夫兹拉（分别由查尔顿·赫斯顿和金·亨特扮演）

为就版权而言，这么做是不可能的。通过进行相关的法律咨询，

tem, its bombastic voice, theatrical illusions and manipulations of

the swastika, on his collar is placed—and this is the sole colourful

之间告别的一吻这一世界闻名的图像成为全球性的标志，宣扬的

他发现艺术家是可以自由使用那张图片的，因为它是多年前媒体

the public.

element in the work—a brooch with the logo of the Rolling Stones

是对他者的包容和尊重，使观众产生一种模棱两可的情绪：既被

为了宣传影片而发布的一张公共图片。这是事件对班茨来说是个

吸引又觉得反感。如果说巴赫曼和班茨把这张图像放大在一个大

转折点，他开始在艺术创作中参考引用包括文学、电影在内的各

designed by Warhol, cartoon lips with the tongue suggestively outRacial satire, abuse of power, suppression of rights, scientific

stretched. In Der Schrei there is absolutely no contact between the

experimentation, genocide: these are only a few of the subjects

figures, and the one who appears ridiculous and brutish is Hitler.

画布上（390 X 300 cm）为的是强调这一场景的伤感的情怀，那

个领域的图像信息，后期和巴赫曼合作进一步拓展这个方面的创

么他们通过使用明亮和令人疏远的颜色来削弱图像的严肃性。站

作，挑战创作者和作者论（“作者论”来自楚浮于1954年引进

science fiction/sociological analysis where the hierarchy man/ani-

The image of Taylor’s and Zira’s kiss already appeared in an early

在这幅巨大的、卡通式的画（比观众高出很多）的面前，带着对

的词“作者”）的概念。之后他所创作的作品讨论的是挪用和重

mal is inverted, and mute, primitive human beings are ruled by an

work by Stefan Banz. While working mostly in photography and

新阐释的行为所延伸出来的各种机制，比如说，在摇滚乐队中，

advanced civilization of apes (divided in the three classes: goril-

installation, in 1994 Banz was asked to make a project on the topic

las, orangutan and chimpanzees). The world-famous image of the

“Ars Futura” (art of the future). What Banz did was simply to take

farewell kiss of the human astronaut Taylor and chimpanzee Doctor

the original picture of the kiss and have it reprinted in a format as

这幅图像的所有认识，观众会开始连锁反应式地质问自己，并且 他们之前所确知的东西会土崩瓦解。就像是面对着一个无法理解

甲克虫或滚石的一部分最有名的歌曲其实是由查克·贝里所作

broached in the movie Planet of The Apes (1968), an apocalyptic

的神圣的图标，这张画会让观众想起“听不懂”，这张2006年

的，或美国导演协会的成员为那些经过过多好莱坞处理的电影捏

Zira (Charlton Heston and Kim Hunter), which became a universal

big as the photographic reproduction means allowed at that time

创作的作品的题目。

造一个不存在的导演，因此这些电影被他们真正的导演所遗弃，

symbol of tolerance and respect toward the Other, induces an am-

(88 x 88 cm), arousing a series of controversies among those who

因为他们不再愿意与最后成形的电影有任何联系。

biguous sense of fascination/repulsion in the viewer. If Bachmann

claimed that it was not possible because of a question of copyright.

and Banz emphasize the pathos of the scene by enlarging this very

After seeking legal advice, it turned out that the artist was free to

same picture on a huge canvas (390 x 300 cm), they reduce the

use the image, as it was a public image that was released by the

image’s solemnity by painting it in bright, estranging colours. While

media many years before in order to advertise the movie. It is from

standing in front of this large, cartoon-like painting (which is much

this event that Banz started his creative considerations, afterwards

继《听不懂》之后，他们马上创作了《呐喊》，逻辑上与 《听不懂》相对立。虽然再次出现一个人和一只猿的形象，但两

电视和好莱坞电影的自我引征的特色，他们所迎领的麻痹

幅作品之间的不同之处显示在从尺寸（《呐喊》只有75 X 120 cm）

人思想的娱乐节目中自我陶醉的趣味，缺乏真实的内容和语境，

到技能到内容上。《呐喊》是一幅几乎完全只有黑白两色的作

电视所制造的视觉奇观和熟知的内容不厌其烦的反复出现，这些

taller the viewer), with the whole fund of knowledge about the im-

developed together with Bachmann, that have extended to refer-

品，根据蒙克的画《呐喊》（1893）而命名，画的是两个主角

都是托马斯·品钦带有侵蚀性的小说《葡萄园》（1993）3 中所探

age stored in mind, the viewer starts asking him/herself questions

ences from various fields including literature and cinema, chal-

讨的话题。在这本书中有一个插曲，其中的一个人物左依得年复

which, in a mental chain reaction, dismantle previous certainties.

lenging our received notions of authorship and auteurism (from

As he/she would be before a sacred icon speaking an unfathom-

the term “auteur” inaugurated in 1954 by Truffaut). The resulting

able language, the observer is led to think Ting Bu Dong, which is

works examine those mechanisms which are triggered by acts of

the title of the work realized in 2006.

appropriation and reinterpretation: this is the case of rock bands

的正面，表情同样愤怒——人在前面，猿在后面。在这幅画中， 巴赫曼和班茨借用了培根曾经引用过的一本书里的两幅不同的插

一年地在摄影机前重复他每年一次的特技表演——穿过一个玻璃

图。把这些形象同时并置在同一平面上，他们去除了一个细微而

窗户的特技跳，为的是娱乐一群慵懒的、沉迷于看电视的观众。

根本的细节——人的胡子。这个人不是别人，正是希特勒。在没

这个表演经过年复一年的重复以后，任何偶然性都丧失了，纯粹

有了他的标志性的胡须之后，他看起来陌生得像一个成年的、淘

变成一种惯例。结果，左依得必须跟随摄影机做慢动作，同时要

As the logical opposite to Ting Bu Dong, Der Schrei was painted

famous songs are actually by Chuck Berry, or in another way, the

模拟疯狂的表情，穿着为了“在电视上好看”而特地挑选的俗不

right after it. Although showing once more the two figures of a man

Director’s Guild of America, whose members fabricated a non-exis-

and an ape, the dissimilarities between the two works are consis-

tent director ad hoc for those movies that were subject to too many

气的男孩，他身上没有任何迹象显示他的盲目排外的极端倾向，

such as the Beatles or the Rolling Stones, some of whose most

以及他作为纳粹德国的领袖的地位。代替带有纳粹党十字记号的

可耐的服装。当他再一次表演这个动作的时候，左依得发现，他

tent in terms of size (Der Schrei is ‘only’ 75 x 120 cm), technique,

manipulations by Hollywood, and therefore were left orphaned by

徽章的是他的领子上出现的作品中唯一颜色鲜艳的元素——一个

原来不知道，连他表演的青瓜吧的玻璃窗户也被替换成带有好莱

and content. Der Schrei is an almost completely black and white

their real directors, who no longer wanted to be associated with

带有安迪·沃霍设计的滚石标志的胸针，卡通的嘴唇，舌头暗示

坞特殊效果的“半透明的糖” （《青瓜吧（萧岭和未未）》 2006

work named after Munch’s painting The Scream (1893), and por-

the resulting films.

86

87

这幅画的标题就来自这个故事）。

电视，是一部“去除上下文的卓越的机器”，它造成对 人性的疏远，伪造一切，把一切变成一场戏，回避任何公共露

信今天，存在基本上可以是一种数码的形式。关于这一点巴赫曼

The self-referential character of TV and Hollywood cinema, the

gan in June 2004) deal with perspective and “different ways of look-

是这么说的，“今天几乎任何人都拥有一台相机，并可以把自己

narcissistic complacence of their piloted, narcotizing entertain-

ing at things.”5 If, in Double (Thomas Pynchon), the view through

ment, resting on a lack of authentic content and context, and

the binoculars is misrepresented (what can be seen through the

television’s modulated spectacularity and jolly reoccurrence of the

two lenses is the identical image viewed from the same angle), in

拍的图像上传到网站上去。这样一来，世界各地的人都可以看得 到。这一点为我们的精神和身体带来了一个全新的视野。”6

well-known are all topics of Thomas Pynchon’s corrosive novel

Les Jumelles (2005) the eyes of the subjects (Ayatollah Khamenei

Vineland (1990). 3 In an episode of the book, one of the charac-

and a General) are hidden behind the binoculars the figures hold

除了艺术的、记录性的和广告的目的以外，越来越多的图

ters, Zoyd, repeats his annual stunt — a stunning jump through a

in their hands. While a projector, a spyglass and cameras are opti-

像被认为仅仅是一种修复学意义的记忆，同时也是一个舞台。

glass window—before the cameras in order to amuse a sluggish,

cal instruments visible in Projection (2006), La longue vue (2006)

tube-addicted audience. By the constant repetition of the feat over

and Le plateu d’or (2005/2006), optical effects are the focal point

面的托马斯·品钦一直在极力地远离电视，以至于在几十年当 中，唯一有他的照片是上个世纪50年代初拍的。4 这是一张稀有 的，经常被翻印的照片，拍摄这张照片的时候这个作家还是个 年轻人，也 是 巴 赫 曼 和 班 茨 画 《 双 重 的（ 托 马 斯 · 品 钦 ）》

习惯于在照相机面前摆弄姿势或在摄影机之前扮演角色的人们

the years, any spontaneity is lost and it becomes only routine. As

of works such as Réflexion (2006), which depicts a dark dish that

（2006）时所选择的图像。像巴赫曼和班茨的其他作品一样，

深知重要的，持久的不是内容，而是外表，不是人们的本质，

a result, it is Zoyd who has to follow the camera in slow motion,

reflects the backlit subject’s head, or Contre-jour (2006), an almost

包括《比赛最高纪录》（2004）或《最后一个抽烟的人（约

而是他们所选择要表现出来的东西。班茨断言道，“我们都是

while simulating insane faces and wearing a gaudy costume cho-

black on black painting representing the profile of Fidel Castro.

翰·福特）》 （2005）一样，主角被画成黑白两色，为的是保持

摇滚明星、好莱坞明星、著名的政治家、卓越的作家......或一个

sen uniquely because it will “look good on TV.” While performing his

与原始图像的一致性，也/或希望营造一种时光消逝的感觉。

图像，我们通过一个图像而存在，也许是一个影像，但仍然是

trick once more, Zoyd discovers that, unbeknownst to him, even the

Continuing their research on the meaning of images, their func-

glass windows of the Cucumber Lounge, the bar in which he was

tion and technical exploitation in art and the art system, and the

called to perform, have been replaced with Hollywood special effect

mass-media (as well as in daily life), Bachmann/Banz believe that

“clear sheet candy” (Cucumber Lounge is also the origin of the title

nowadays existence basically has a digital form. On this point Bach-

of the painting Cucumber Lounge (Nataline & Weiwei, 2006).

mann states: “Today almost anyone can own a camera and put his

TV, the “preeminent machine of decontextualization” and human

own picture on the web. In this way, everybody all over the world

alienation that falsifies everything, turning it into a mere show, is

can see it. This gives a completely other dimension to our spirit and

something from which Thomas Pynchon, as a man who shuns

our body.”6

publicity, avoids so much that for decades the only pictures avail-

Besides artistic, documentary or advertising purposes, more and

able of him dated back to the early 1950s.4 It is one of these rare

more often, images are regarded not only as a prosthetic memory,

and often reproduced portraits, shot when the mysterious writer

but also as a stage. Accustomed to posing in front of a camera or

was still a young man, that Bachmann and Banz selected for their

acting before a camcorder, people know that what counts and will

painting Double (Thomas Pynchon) (2006). Like many other works

eventually last is not content, but appearance; not what people are,

平的，两维的，是一个没有内容的框架。7 类似于《听不懂》和《呐喊》，正如题目所示，这个作品 也很明确地在讨论双重性的主题，尽管是从另外一个角度来展 开的讨论。同一个托马斯·品钦的形象出现在一个圆形里面， 像从双筒望远镜中所看到的，重复出现两次，因此突出了大众

如果在客观的镜头前没有任何人怎么办？如果摄影机开始 拍摄它自身怎么办？如果观众完全出于好奇，去爬其中的一个 梯子，出乎意料地发现自己面对的是自己的倒影，怎么办？这

传媒和观众的落空的企图，一方面希望看到作家的形象，另一

些是巴赫曼和班茨完成于2006年的新装置作品《那科索斯》和

方面希望看到托马斯·品钦生活的公共和私人的双重性。

《回声》所提出的问题。

虽然巴赫曼和班茨从未制作过成系列的作品，在他们合作过

在《那科索斯》中，一台与原物等大的35毫米摄影机被放

程（开始于2004年）中所制作的数个其他题材的绘画讨论的是

置在一个底部为黑色的，装满5厘米深的水的方形槽中。希腊传 说的主角那科索斯在看到自己在水中的倒影以后爱上自己，死

by Bachmann/Banz, such as Race Records (2004) or The Last Smoker (John Ford) (2005), the subject is painted in black and

but what they choose to present. Banz affirms: “We are all rock

角度和“看待事物的不同方法” 。5 如果在《双重的（托马斯·品 钦）》中，双筒望远镜中看到的形象是不如实的（两个镜头中看

去后变成一朵水仙花，和他一样，摄影机一直沉迷在拍摄自己

white in order to keep adherence to the source picture, and/or to

image, we exist through an image; maybe a moving image, but still

到的是从同一角度观看的相同的图像），那么在《双筒望远镜》

之中。当摄影机工作的时候，在观看者靠近水槽的过程中，在

give the feeling of the past.

flat, still bi-dimensional, and it is still a frame without context.”7

（2005）中，主角（阿亚图拉赛义德·哈梅内伊和一位将军）的

影像中唯一改变的是观察者镜像的形状。摄影机是否真的在拍

Similarly to Ting Bu Dong and Der Schrei, this work, as it is plainly

What happens with there is nobody before the objective lens? What

evidenced in the title, is centered on the theme of the double, al-

happens when the camera films itself? What happens when the

though from another viewpoint. The very same picture of Thomas

viewer, moved by pure curiosity, makes the effort to climb a ladder

Pynchon, encircled in a round outline, appears twice as if seen

and unexpectedly finds himself face-to-face with his own reflection? These are some of the questions put forward by Bachmann

双眼被隐藏在人物手中的双筒望远镜之后。一架投影仪、一副间

摄，是否是真的摄影机，这些都有待于观众去发现。

谍眼镜和照相机是看得见的视觉工具，视觉的效果则是像《映

stars, Hollywood stars, famous politicians, acclaimed writers… an

象》（2006）等作品中的重点所在，在这个作品中，一个黑色的

在《回声》中，巴赫曼和班茨继续在三维的空间里探讨角

through binoculars, therefore highlighting the frustrated lust of the

盘子反射出有背光的主角的头像，在《背光》（2006）中，一幅

度的改变。在一个2米5高的黑色木盒子（黑色是在他们的绘画

mass-media and the audience for images of the writer on the one

and Banz’s recent installations Narziss and Echo, both completed

和装置中重复出现的颜色）的一边竖着一个梯子。当观众爬到

hand, the dual aspect—public and private—of Pynchon’s life on

in 2006.

the other.

Narziss consists of a life-size 35 mm movie camera placed in the

几乎是画在黑色画布上的黑色绘画勾勒的是卡斯特罗的轮廓。

梯子的顶端时，会看到一个立方形的装水的容器。如果上帝有 秉承他们在艺术、艺术系统和大众传媒（以及日常生活） 中对图像意义和功能的研究和技术上的开发，巴赫曼和班茨相

88

centre of a black-floored quadrangular basin filled with 5 cm of

意要像对待那科索斯一样惩罚过于自我迷恋的观众的话，装置

Although Bachmann and Banz never work in series, a number of

water. Like Narcissus, the protagonist of the Greek legend who, fall-

的旁边一定会长出不少的花来。

other paintings produced throughout their collaboration (which be-

ing in love with himself, died and was transformed into a daffodil

89

位于好莱坞的派拉蒙影业公司是世界上最有名的电影发行 和制作公司之一。从1914年起，大量由它的导演执导和演员扮

照为蓝本，他在邪典类型电影《无因的反抗》（1955）当中作

after having seen his own image reflected on the water, the camera

pinned on the garment of William Shakespeare. The portrait of

为演员有出色的表演，并成功地执导过反文化的经典电影《逍

indulgently films itself. The only things that would change in the

Shakespeare, emerging from the striped background patterned in

film frames, if the camera was working, are the mirrored shapes of

the style of Stella’s minimalist black paintings (1958-60), looks fa-

the observers as they approach the basin. Whether the camera is

miliar to the viewer, who may be unaware that the real features of

really shooting or not, whether it is an authentic camera or not, is

the great poet and playwright are actually unknown. Of the numerous pictures of Shakespeare, all differing one another, the best-

演的电影在美国最古老的电影工作室出现。虽然派拉蒙影业公

遥骑士》（1969）。在经历了事业上的起伏之后（以及他同

司闻名世界的标志设计——一座被一圈星星环绕的山——多年

时作为摄影师的事业中），霍珀确定了他作为一位个性鲜明的

以来经过多次小的修改，但将这个山峰和这座或那座山联系起

演员的地位，除了出演电影以外，他还频繁在电视连续剧中露

something to be discovered by the viewer.

来的理论和假设从未间断过。熟悉所有瑞士山脉名字的班茨相

面。之前作为反叛的嘻皮士的代表人物之一的丹尼斯·霍珀在

In Echo, Bachmann/Banz continue to explore changes of perspec-

known portrait (called Flower Painting after the name of one of its

信派拉蒙影业公司的标志里的山并不是一座美国的山脉，而是

多年后成为一个正式的共和党成员，他是一个典型的多面人代

tive within a three-dimensional space. A ladder is mounted vertical-

owners, Sir Desmond Flower) once scientifically examined, turned

著名的瑞士芬斯特腊尔霍恩峰。《芬斯特腊尔霍恩峰》（2006）

表，在银屏上和私人的生活中，他的一生都和坏分子的身份分

ly on one of the sides of a 250 cm high black wooden cube (black

out to be a work of the 1800s, probably a copy of Martin Droe-

is a recurrent colour both in the paintings and in the installations).

shout’s copper engraving picture published on the title page of the

截取了派拉蒙影业公司放映时片头的一个图像，表现的是一串

不开。

Once on the top, the viewer will find a cubic basin of shallow water.

First Folio (1623). When Shakespeare died in 1616, Droeshout

白色的星星往山的方向飞去。这个作品幽默地暗示美国国家的

If divinity would like to punish overly self-absorbed viewers in the

was only fifteen, and it is not sure whether he ever met the Bard,

荣誉，以及在领土大小上差距悬殊的美国和瑞士两国间的政

same way as Narcissus, it could be that quite a number of flowers

or if he made the portrait according to the descriptions offered by

would grow next to the installation.

Shakespeare’s fellow actors.

治、历史和文化关系。

班茨指出，“你可以通过做积极的事情而成为一个明星，也 可以因为做负面的事情而出名。 ”8 名人、电影和摇滚明星、政 治家、甚至普通人，都不得不面对一个他们扮演或被赋予的角

The black background of The Republican (Dennis Hopper) (2005) Based in Hollywood, Paramount Pictures is one of the most famous

is also covered in white stars. This black and white work portrays

《画》（2006）讨论的是类似的主题，表现的是另外一个国

色，象有了第二层皮，越来越难被取下来，在这层皮下隐藏着

film distribution and production companies worldwide. Since 1914,

a recent picture of Dennis Hopper, who brilliantly emerged as an

家的标志：旗帜。同样是关于派拉蒙影业公司的标志中的山脉所

不可预料的特征。敕使河原宏的日本电影《他人之颜》(1966)

a great number of movies—with their directors and film stars—have

actor in the cult movie Rebel Without a Cause (1955) and as a

具有的真实和虚拟性的一种不确定性，《画》描绘的是一面虚构

的主角就有类似的经历。一个破了相的人成功地说服他的医生

passed through the oldest motion pictures studio in the United

director in his counterculture classic Easy Rider (1969). After ups

的红白两色的旗帜。在这面旗帜上，象征瑞士旗的白色十字重

根据一个陌生人的脸而为他制作一个面罩，当他的愿望实现

States. Although the design of Paramount Pictures’ world-famous

and downs in his career (and his work in the parallel profession of

logo—a mountain surrounded by a halo of stars—has been subject

photography), Hopper stabilized his career as a character actor,

复出现20次，替代了一面颠倒和相反的美国国旗上的50颗星。

时，他逐渐意识到他的存在永远受到他的面罩所影响。同样

to small touch-ups over the years, the theories and the suppositions

and, in addition to appearing in films, started working extensively

在几乎只有黑白两色的画面《比赛最高纪录》 （2004）上，一颗

地，巴赫曼和班茨的作品的主角在表演中被艺术家的演绎所揭

identifying the represented peak with this or that existing mountain

in TV drama. Dennis Hopper, formerly one of the symbols of the

白色的星星别在威廉·莎士比亚的外衣上，这颗星既指代名人的

发、终止。

has never stopped blossoming. Banz, who knows almost all the Swiss

rebellious hippie generation who, over the years has become a reg-

mountains by name, believes Paramount Pictures’ image was not

istered Republican, is an example of a multi-faceted man, trapped

inspired by any American mountain, but by the renowned Swiss Fin-

lifelong in the role of the bad guy, both on the screen and in his

想法，也指示美国画家法兰克·斯特勒（斯特勒在意大利语中 是“星星”的意思）。莎士比亚的画像出现在斯特勒极简主义风

《伊丽莎白》 （2005）是一幅充满讽刺意味的绘画，在这幅

格的黑色绘画式的条形背景前，对于观众而言看起来很熟悉，但

画中，伊丽莎白二世和菲力王子满脸困惑，身着正式的西式服

观众有所不知的是这位伟大的诗人和剧作家的真正特征却无法得 知。无数莎士比亚的不尽相同的照片中，最有名的一幅肖像（根 据其中一位名为德斯蒙特·福劳尔而命名为《福劳尔画》）曾经

steraarhorn. A screenshot of the opening Paramount Pictures logo,

private life.

Finsteraarhorn (2006) is a painting depicting a string of white stars

Banz pointed out, “You can become a star by doing something

装，不解地盯着一个土著居民的手势——这是英国流行周报里

flying in the direction of the mountain. This work humorously hints

positive, but you can be a star also by doing something negative.”8

一个典型的图像。在《仙人掌（尼克松与猫王）》（2006）中，

at American national pride, as well as the political, historical and cul-

Celebrities, movie and rock stars, politicians and even common

尼克松在相机前握着猫王的手，这么做是希望利用摇滚明星的

tural relationships between the United States and Switzerland, two

people have to deal with a role they play or are assigned, a sort of

countries that are remarkably different in terms of land size.

second skin that becomes more and more difficult to tear off and

被拿去进行科学的试验，结果这是一幅1800年代的作品，也许

魅力来赢得更多选民的支持。在《当我开火的时候》（2004）

Dealing with a similar topic, Painting (2006) plays with another na-

under which unpredicted identities can be concealed. This is the

是马丁·德罗肖特的铜版画的一个版本，印刷在《第一对开本》

中，身着黑衣的美国政府要员深思熟虑地看着客观的镜头，仔

tional symbol: the flag. As with the general uncertainty about the

case with the main character of the Japanese motion picture The

（1623）的标题页上。莎士比亚于1616年去世，当时德罗肖特

细看时发现背景里有安娜·法兰克的肖像，还有一段收音机之

real or fictional nature of the mountain in the Paramount Pictures

Face of Another (Tanin no kao, 1966) by Hiroshi Teshigahara, a

仅有15岁，不能确定的是，他是否见过莎翁，还是他根据莎士

战的信息（来自列肯斯坦的作品），写在画的上方，作为这幅

logo, Painting illustrates a fictitious red and white flag. On it, the

disfigured man who succeeds in convincing his doctor to make him

比亚的同伴的演员所提供的细节而画的。

画的标题。

white cross characterizing the Swiss flag is multiplied by twenty,

a lifelike mask modeled on the face of a stranger; once his wish is

replacing the fifty stars of an inverted and reversed American flag.

satisfied, he slowly realizes his existence to be forever influenced

In the nearly completely black and white painting Race Records

by the disguise. Similarly, the subjects of Bachmann/Banz’s works

《共和主义者（丹尼斯·霍珀）》（2005）中的黑色背景

《伏击（邦妮和克莱德的杀手）》（2006）的题目来自一

(2004), a white star that refers both to idea of celebrity and to

are caught while acting and thus unmasked by means of the artists’

也覆盖着白色的星星。这幅黑白作品以一张丹尼斯·霍珀的近

本写于1979年的同名的书，该书的作者是泰得·印顿，他是在

American painter Frank Stella (‘stella ’ in Italian means ‘star’) is

interpretation.

1934 90

91

1934年5月23号杀害这对声名狼藉的犯了罪的夫妇中的六位官 员之一。如果在书中，印顿重新修改了他关于这整个故事的立

次探讨成功的本质，任何艺术家的目标。成功到底在哪里？是

Elisabeth (2005) is a satirical painting in which Queen Elizabeth

painting I Shot a Kennedy (Slipknot), 2004, the members of the

艺术家的充满吸引力的个性，还是他作品的价值？

II and Prince Phillip, with their perplexed composure and western

band are portrayed in their costumes, looking like a medley of mon-

formal dress, stare uncomprehendingly at the gestures of an ab-

sters raked up from a bunch of B-grade horror movies. Under their

origine—a perfect image for an English popular weekly magazine.

flamboyant outfits, Slipknot preserves their anonymity and builds

场的话，在这幅画中，他和其他的官员一起得意洋洋地笑着， 这些媒体和普通人眼中的英雄犯下的是和他们的受害者一样的 罪行。

卢迎华 译

《死刑宣判（查尔斯·曼森姑娘）》（2006）这幅作品 与发生在1971年的一场令人震惊的谋杀案审讯有关，那是当

In Kaktus (Nixon & Elvis) (2006), Nixon shakes hands with Elvis

an aura of mysterious comic terror that, enhanced by their stunts

Presley in front of the camera, and by doing this he takes advan-

and the deconstructive texts of their songs, attracts great attention

tage of the Rock star’s charisma in order to try and win the favor

and the resonance of the media.

of possible electors. Black clothed key members of the American

In the visual arts, Pablo Picasso is undoubtedly one of the most fa-

administration thoughtfully look at the objective lens in As I Opened

mous artists of the twentieth century, his face and his stripped T-

Fire (2004), a work in which the detail of Anne Frank’s portrait in

shirt, probably as well known as his works. In the 290 x 250 cm

时美国历史上最漫长和最昂贵的一场审讯。这幅画根据原始

the background comes into sight only at a closer look, as well as

sized painting L’ homme qui tire plus vite que se son ombre (Pablo

照片而表现了帕崔斯·科仁文克尔、苏桑·阿特肯斯和来斯

an excerpt of a radio combat message (borrowed from one of Li-

Picasso), 2006, Bachmann and Banz represent him in the shoes of

里·文·毫顿在因谋杀罪被判死刑之后面对相机开心地笑的情

chtenstein’s works) written as a caption on the upper part of the

an improvised cowboy who examines his pistol with an arch smile; on

景。1969年，他们残忍地杀害了怀孕在身的莎伦·泰特（罗

painting.

his T-shirt, in the middle of his breast, is a small, colourful target. With

曼·保兰斯基的妻子），其他四个在西楼路的人，以及来·比

Ambush (The Killers of Bonnie & Clyde) (2006) takes its name from the book Ambush: The real story of Bonnie & Clyde, written

this work, Bachmann and Banz explore once more the nature of suc-

安卡夫妇，他们将被送进毒气室处死（这个判决后来被减轻为

in 1979 by Deputy Ted Hinton, one of the six officers who shot the

magnetic personality of the artist, or in the value of his artworks?

终生监禁）。在7个月的审讯当中，这三个女性，对他们的罪行

infamous outlaw couple to death on May 23, 1934. If in his book

毫无悔悟，反而显得像电视明星，作为所谓查尔斯·曼森家族

Hinton revised his position about the whole story, in the painting he

cess, the target of any artist. Where does success really reside? In the

is represented while smugly smirking with the other officers who,

的成员，他们成为世界范围内罪恶的象征。

regarded as heroes by the media and common people, became guilty of the same kind of crime committed by their victims. 制作人瑞克·卢宾曾经推动过很多前卫的hip-hop和说唱/金 属乐队（特别是制作过尼尔·戴蒙德的专辑）。在他的支持下， 活结乐队擅长于鞭鞑金属和他们在音乐会中进行的充满戏剧性的 表演，始终如一地带着复活节期间所带的面具。在《我射杀了一

1

2

同上

3

托马斯·品钦，《葡萄园》，波士顿Little, Brown and Co出版公司，1990年。ISBN: 0-316-72444-0

4

玛丽·安·多恩，“信息、危机、灾难。”《电视的逻辑——文化批评》，编辑帕 加纱·麦伦堪，布鲁明顿印地安那大学出版，1990年，222-239页。ISBN: 0-25320582-4

5

节选于2006年11月16日在北京麦勒画廊艺术家驻村工作室与施特凡·班茨和卡萝莉 内·巴赫曼进行的对话。

6

同上

7

节选于2006年11月16日在北京麦勒画廊艺术家驻村工作室与施特凡·班茨和卡萝莉 内·巴赫曼进行的对话。

8

同上

个肯尼迪（活结）》 （2004）中，乐队的成员身着他们的服装， 看上去像是从B级恐怖电影中蹦出来的一群魔鬼。在他们夸张的 服饰之下，活结乐队的成员们保持着他们的匿名性，营造一种神 秘的戏剧性的恐怖的氛围，他们的表演和歌词中破坏性的文字增 强了这种氛围，引起极大的关注和媒体的反响。

节选于2006年11月16日在北京麦勒画廊艺术家驻村工作室与施特凡·班茨和卡萝莉 内·巴赫曼进行的对话。

The work Death Sentence (The Charles Manson Girls) (2006) is

1

connected to a spectacular murder trial that occurred in 1971—at

2

that time one of the longest and most expensive in American history. According to the source picture, the painting represents Patricia Krenwinkel, Susan Atkins and Leslie Van Houten, who are happily laughing before the cameras, right after having been convicted of murder and sentenced to execution by gas chamber (the verdict was later commuted to life imprisonment) for the ferocious homicides of pregnant Sharon Tate (wife of Roman Polanski) and four other people at Cielo Drive, as well as for those of Mr. and Mrs. La

Nataline Colonnello

Bianca in 1969. During the seven months of the trial, the three

Born in Pordenone, Italy in 1976, Nataline Colonnello is a Beijing-based freelance art writer and critic, a curator, and the Artistic Director of the Beijing branch of Galerie Urs Meile Beijing-Lucerne. A Chinese Language graduate with a specialization in Chinese contemporary art from the University of Venice, she has been living in China since 2001.

Her texts and interviews focusing on contemporary art have been published in artists’ monographs and exhibition catalogues, as well as appearing in many Chinese and international art magazines. She has collaborated with many international art institutions, organizations and collections, including: the Manchester Art Gallery, the Guangdong Museum of Art, China Art Archives & Warehouse (Beijing), BizArt (Shanghai), Temporarycontemporary (London), and Sammlung Sigg (Switzerland). The independent exhibitions she has curated include Show me...Catch Me...Sight Unseen, paintings by Xie Nanxing and Wang Xingwei, (CAAW), Beijing, 2005. Colonnello also served as guest selector for the traveling exhibition Biennale! Artist Film and Video 2005 (London, Beijing, Shanghai and Lijiang, 2005); Chinese selector for the 2003 Bangkok Short Video Festival.

women, absolutely remorseless about their crimes, behaved like 在视觉艺术的领域中，毕加索无疑是20世纪中最著名的艺 术家，他的脸和他的条纹T恤可能和他的作品一样闻名。在这 幅尺寸为 290 x 250 cm的《比他自己的影子走得更快的人（帕 布罗·毕加索）》 （2006）中，巴赫曼和班茨把他变成一个牛 仔，带着狡猾的笑容检查着他的手枪，在他的T恤胸部的正中央 是一个小小的、彩色的靶子。通过这幅作品，巴赫曼和班茨再

92

箫岭 于1976年出生于意大利的波丹诺内，现居北京，是一位自由的艺术撰稿人、批评 家，策划人，目前担任麦勒画廊北京空间的艺术总监。她是威尼斯大学中文本科毕业 生，并专修中国当代艺术。她从2001年起在北京居住。她所撰写的有关当代艺术的 文章和访谈多次在艺术家个人画册和展览画册中出版，并出现在多个中文和国际的艺 术杂志中。 她策划过的独立展览包括2005年在北京的“告诉我...抓住我...隐藏的视界——谢南星 和王兴伟的绘画”（艺术文件仓库）。她也曾担任巡回展览“双年展！艺术家电影和 录像2005”（伦敦、北京、上海和丽江，2005）的特邀评委；2003年曼谷短片节的 中国评委。

Excerpts from an interview with Caroline Bachmann and Stefan Banz in their artist in residence studio of Galerie Urs Meile in Beijing, November 16, 2006.

Ibid.

3 Thomas Pynchon, Vineland, Little, Brown and Co., Boston, 1990. ISBN: 0-316-72444-0 4 Mary Ann Doane, “Information, Crisis, Catastrophe” in Patricia Mellencamp, ed., Logics of Television: Essays in Cultural Criticism. Bloomington, Indiana University Press, 1990, p. 222-239. ISBN: 0-253-20582-4 5 Caroline Bachmann in an interview with Caroline Bachmann and Stefan Banz in their artist in residence studio in Beijing, November 16, 2006 6 Ibid.

7 Excerpt from an interview with Caroline Bachmann and Stefan Banz in their artist in residence studio in Beijing, November 16, 2006 8 Ibid.

TV stars and, as members of the so-called Charles Manson Family, they became a worldwide symbol of evil.

Supported by producer Rick Rubin, the man behind many groundbreaking hip-hop and rap/metal bands (and who recently worked on an album by Neil Diamond), the band Slipknot specializes in trash metal and in the theatrical performances they stage during their concerts, invariably wearing Halloween-like masks. In the

93

装置 Installations 95

那科索斯

Narziss

装置: 木头、树脂玻璃、颜料、塑料、水 250 x 330 x 500 cm 2006

Installation: Wood, Plexiglas, Colour, Plastic, Water 250 x 330 x 500 cm 2006

96

97

98

回声

Echo

装置: 木头、金属、塑料、颜料、水 240 x 240 x 240 cm 2006

Installation: Wood, Metal, Plastic, Colour, Water 240 x 240 x 240 cm 2006 99

100

101

102

103

附录 Appendix

巴赫曼/班茨

BACHMANN/BANZ

卡萝莉内·巴赫曼(Caroline Bachmann)和施特凡·班茨(Stefan Banz)自2004年6月起以“巴赫曼/班茨 (Bachmann/Banz)”为名开展合作。

Caroline Bachmann and Stefan Banz have been working together as “Bachmann/Banz” since June 2004.

主要个人展览

Solo exhibitions

2006

“听不懂”，麦勒画廊，北京，中国 (有画册发表)

2006

“笑吧，我即将死去。”CentrePasquArt博物馆，比尔，瑞士(有画册发表)

主要参加联展 2006

“在阿尔卑斯山”，苏黎世艺术馆，苏黎世，瑞士(有画册发表)

Laugh. I nearly died, CentrePasquArt, Biel-Bienne, Switzerland (Catalogue)

Group Exhibitions 2006

“恐惧文化”，莱比锡棉纺业菲德尔基尔(Federkiel)基金会，莱比锡，德国

“今天的英雄”，CentrePasquArt博物馆，比尔，瑞士(有画册发表)

Reisenbahnen, Kunstmuseum Olten, Olten, Switzerland 2005

“此地/他处”，文化博览馆，卢森，瑞士 2004

“年展”，卢森艺术馆，卢森，瑞士

2006

2004

Jahresausstellung, Kunstmuseum Luzern, Lucerne, Switzerland Facts Are Stupid Things, Galerie staubkohler, Zurich, Switzerland

Publication 《Bachmann/Banz——听不懂》，绘画与装置作品，麦勒画廊 北京－卢森

卡萝莉内·巴赫曼(Caroline Bachmann)生于瑞士洛桑(Lausanne)，在奎因(Cully)长大。1983年至1987年她就读于日内瓦的装饰艺术学院， 获得版画专业硕士学位。自1987年至1990年她在著名版画家佩里德(Peret)的巴塞罗那工作室工作，并于1990年参与组建V.I.T.R.I.O.L代理公 司。自1991年至2002年，她居住在罗马，积极参入了ORESTE项目1997年至2000年的活动，并于1999年代表意大利参加了由史泽曼(Harald Szeemann)策划的第48届威尼斯双年展。2002年，她在柏林获得了瑞士阿豪尔董事会(Aargauer Kuratorium Aarau) 提供的工作室资助项目。 卡萝莉内·巴赫曼的创作主要是媒体绘画、数字绘画和摄影。自1997年起她在意大利和瑞士参加过多次展览，举办过个展。自2002年起， 巴赫曼移居瑞士。 施特凡·班茨(Stefan Banz)生于瑞士苏尔希(Sursee)，在门茨劳(Menznau)长大。1982年至1991年，他就读于苏黎世大学，所学专 业有艺术理论、1700年以来的德语文学和文学批评。1989年他参与组建了卢森艺术馆，自1989年至1993年担任该馆艺术总监。自 1993年起成为独立艺术家、策展人和作家。他的艺术创作主要是媒体装置、摄影和绘画。作为作家，班茨的作品有多篇艺术理论文 章、多部剧本、一部长篇小说，并且撰文记述过艺术家和其他人物如雅克·德里达（Jacques Derrida）、穆罕默德·阿里（Muhammad Ali）、布鲁斯·瑙曼（Bruce Naumann）、弗兰克·扎帕（Frank Zappa）。2000年他获得曼诺尔（Manor）艺术奖和卢采恩 城市表彰奖。2005年他为威尼斯双年展策划了题为“人与影的碰撞”的瑞士展台。自1993年起多次参加画廊、艺术协会与博物馆的 展览，举办过多次个展。自2001年起，他成为瑞士联邦艺术委员会成员。他的发表作品众多，例如：《给我一个里奥纳多·科恩之 后的世界》（Give me A Leonard Cohen Afterworld, Catz, Ostfildern-Stuttgart, 1995）；《我为我们建造了一个花园》（I built this

Garden for us, Edition Patrick Frey, Zürich, 1999）；《一次枪击掠过些许花朵》（A Shot Away Some Flowers, Edition Patrick Frey, Zürich, 2000）；《艺术的复合体系》（Komplexes System Kunst , LIT Verlag, Münster-Hamburg-London 2001）；《赫尔》（Hell, Salon Verlag, Köln 2001）；《穆罕默德·阿里之事》（The Muhammad Ali’s, Verlag für moderne Kunst, Nürnberg, 2002）；《一 颗简单的心》（Un Coeur simple, Edition Fink, Zürich 2003, SMS, Timezone 8, Beijing, 2005）；《笑吧，我即将死去》（Laugh. I

nearly died, Verlag für moderne Kunst, Nürnberg, 2006）。施特凡·班茨居住在瑞士，他的个人网页为：http://www.banz.tv

106

Helden heute, CentrePasquArt, Biel-Bienne, Switzerland (Catalogue) Hier/Anderswo, Kulturpanorama, Lucerne, Switzerland

“真相都是傻事”，施陶普克勒(staubkohler)画廊，苏黎世，瑞士

出版物

In den Alpen, Kunsthaus Zürich, Zurich, Switzerland (Catalogue) The Culture Of Fear, Stiftung Federkiel, Leipziger Baumwollspinnerei, Leipzig, Germany

“旅游列车”，奥尔滕艺术馆，奥尔滕，瑞士 2005

Ting Bu Dong, Galerie Urs Meile, Beijing - Lucerne, Beijing, China (Catalogue)

2006

Bachmann/Banz – Ting Bu Dong, Paintings and Installations, Galerie Urs Meile, Beijing - Lucerne

Caroline Bachmann was born in Lausanne and grew up in Cully, Switzerland. From 1983 to 1987 she studied at the Academy of Arts and Crafts in Geneva. From 1987 to 1990 she worked in the studio of internationally acknowledged Spanish graphic artist Peret in Barcelona. In 1990 she cofounded the agency V.I.T.R.I.O.L., Barcelona. From 1991 to 2002 Bachmann lived in Rome. She took part in the ORESTE Projects from 1997 until 2000, featured in, among the other venues, the Italian Pavilion of the 48th Venice Biennale (curator Haarald Szeemann). She received a grant for a residency in Berlin from the Aargauer Kuratorium in Aarau, Switzerland. Caroline Bachmann works with different media such as oil painting, digital painting and photography. Since 1997 she has taken part in several solo shows and group exhibitions – especially in Italy and Switzerland.

Caroline Bachmann has been living and working in Switzerland since 2002.

Stefan Banz was born in Sursee and grew up in Menznau, Switzerland. From 1982 to 1991 he studied Art History, German Literature from 1700 on and Literary Criticism at the University of Zurich. In 1989 he co-founded the Kunsthalle Luzern and served as its artistic director until 1993.

Since 1993 Stefan Banz has been working as freelance artist, curator and author. As an artist he works with installations, photography and painting. As an author and art critic, Banz has written plays, novels, theoretical texts and critical essays about artists and personalities such as Jacques Derrida, Muhammad Ali, Bruce Nauman and Frank Zappa. In 2000 he received the Manor Art prize, as well as the Recognition Award from the City of Lucerne. In 2005 he was the curator for the Swiss Pavilion at the 51st Biennale in Venice. Since 1993 he has participated in solo and group exhibitions in international galleries, art institutions and museums. He is also a Member of the Swiss Federal Art Committee since 2001. Selected publications: Give me A Leonard Cohen Afterworld, Cantz Verlag, Ostfildern-Stuttgart, 1995; i built this garden for us, Edition Patrick Frey, Zurich, 1999; a shot away some flowers, Edition Patrick Frey, Zurich, 2000; Komplexes System Kunst, LIT Verlag, Munster-Hamburg-London, 2001; Hell, Salon Verlag, Cologne, 2001; The Muhammad Ali’s, Verlag für moderne Kunst, Nuremberg, 2002; Un cœur simple, Edition Fink, Zurich, 2003; SMS, Timezone 8, Beijing, 2005; Laugh. I nearly died, Verlag für moderne Kunst, Nuremberg, 2006.

Stefan Banz lives and works in Switzerland.

Homepage: http://www.banz.tv

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感谢 卡萝莉内·巴赫曼与施特凡·班茨在此向以下诸位表示感谢： 十分感谢乌斯·麦勒提供的这次机会，在北京举办展览、出版画册。 感谢箫岭、里柯和Karin Seiz在此次展览的筹办和画册制作方面的大力协助。 感谢李红卫在布展方面的支持。 感谢徐静在各个方面的陪同和翻译。 感谢万利达公司的邓圆梁和他的下属制作了十分精细的摄影机。 感谢李建辉的画册设计及新闻材料的准备工作。 感谢孙建伟和Christoph Eckert 的摄影。 感谢李双志、卢迎华、Werner Richter和玛瑙的翻译。 感谢丁达伟对文章的校对和编辑。 感谢麦勒画廊全体员工的支持和大力帮助。 在此还要特别感谢箫岭和阿兰·史密西创作了此次展览的文章；董大夫和刘大夫的按摩及他们所 教的那些非常基本的中文，这是产生此次展览主题名字的源泉。

Acknowledgements Caroline Bachmann and Stefan Banz would like to thank Urs Meile, for giving them the opportunity to have the exhibition and to publish the catalogue in Beijing.

Nataline Colonnello (Xiao Ling), Enrico Polato (Li Ke) and Karin Seiz for the great help in organizing the show and taking care of the catalogue.

Li Hongwei (Xiao Li) for the technical assistance.

Xu Jing (Joy Xu) for the general assistance.

Mister Deng Yuanliang and the specialists from Wan Li Da, Beijing, for building the camera.

Li Jianhui (Jeff Li) for the design of the catalogue and press material.

Sun Jianwei and Christoph Eckert for the photos.

Li Shuangzhi, Carol Lu, Werner Richter and Manuela Lietti for the translations.

David Spalding for the proof-reading and editing.

The whole staff of Galerie Urs Meile, Beijing - Lucerne for supporting the project.

Their special thanks goes to Nataline Colonnello and Alan Smithee for the texts, and to Doctor Dong and Doctor Liu, for their massages and basic Chinese lessons, which synergistically inspired the title of the show.

出版：麦勒画廊 北京- 卢森 编辑：箫岭，里柯，李建辉，麦勒画廊 北京- 卢森 文章：阿兰·史密西，箫岭 设计：李建辉 翻译：李双志，卢迎华，Werner Richter，玛瑙 摄影：孙建伟，Christoph Eckert © 2006 麦勒画廊 北京- 卢森，巴赫曼/班茨 ISBN-10: 3-9523222-2-9 ISBN-13: 978-3-9523222-2-2 印刷：中国，北京

Published by: Galerie Urs Meile, Beijing - Lucerne Edited by: Nataline Colonnello, Enrico Polato and Li Jianhui, Galerie Urs Meile, Beijing - Lucerne Texts: Nataline Colonnello and Alan Smithee Design: Li Jianhui Translations: Li Shuangzhi, Carol Lu, Werner Richter and Manuela Lietti Photography: Sun Jianwei and Christoph Eckert © 2006 Galerie Urs Meile, Beijing - Lucerne, Bachmann/Banz All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including but not limited to photocopying, recording or by any information storage and retrieval system, without permission in writing from the publisher.

ISBN-10: 3-9523222-2-9 ISBN-13: 978-3-9523222-2-2 Printed in China

麦勒画廊，北京市朝阳区草场地104号，邮编 100015，电话 + 86 10 643 333 93 Galerie Urs Meile, no.104, Caochangdi, Chaoyang District, PRC -100015 Beijing,T+ 86 10 643 333 93 Galerie Urs Meile, Rosenberghöhe 4, 6004 Lucerne, Switzerland, T+ 41 41 420 33 18 galerie@galerieursmeile.com, www.galerieursmeile.com 111