ISSUE 219 / February 2017
封面故事 COVER STORY
#TheBroad
布洛德美术馆 艺术家工作室 PROFILE Deng Wei Ren Jian Stormy Wu Zhang Zhaoying Yang Kai
02
Wang Yue
邓 洧 任 剑 伍朝艺 张钊瀛 杨 锴 王 乐
9月21 24日 香港港丽酒店
“巴黎街景”，杜海军，南希艺术画廊，中国，房间 4220
欢迎莅临第十一届亚洲当代艺术展，一览来自全球18个国家和地区带来超过3000件精致艺术品!展览将在9月 21日至24日于香港港丽酒店举行，届时您将有机会细赏及选购由新晋及中位艺术家创作的原著绘画、限量版 画、雕塑及摄影作品等。参展艺术家炙手可热，作品曾被拍卖、公开及私人珍藏。是次展览特设两个全新项 目—「交义视野：日本」及「与艺术家对话」，为您带来更丰富的艺术体验。
想 知 道 更 多 ， 请 即 浏 览 － www.asiacontemporaryart.com
CONTENTS 目 录
Photo by Iwan Baan, courtesy of The Broad and DIller Scofidio + Renfro
创意SHOW
编辑：邓冬燕
008
ART SHOW Edited by Dong Dong
010 ART CROWD 圈里圈外 THE 几种美术馆策展人的界分
撰文：蓝庆伟
016
The Distinguishing of Different Types of Curators Written by Lan Qingwei
画廊大视野 EYESHOT OF GALLERIES 超越诗意的律动 撰文：大卫·帕格尔 编辑：黄子正
018
The Mind-bending Poetry Written by David Pagel Edited by Max Wong
封面故事 COVER STORY 布洛德美术馆：点亮艺术之心
策划：李琼波 撰文：黄子正
4
GALLERY MAGAZINE
026
The Broad: Illumination of the Contemporary Planned by Li Qiongbo Text by Max Wong
对话乔安妮 · 海勒（美术馆创始总监）
030
Interview with Joanne Heyler ( Founding Director of The Broad )
布洛德的传奇人生
032
Eli Broad: The Art of Being Unreasonable
布洛德美术馆艺术藏品系列
034
The Broad Collection
辛迪 · 雪曼：戏仿人生
056
Cindy Sherman: Imitation of Life
草间弥生：无限镜屋
058
Yayoi Kusama: Infinity Mirrors
http://www.53museum.org Tel: (8620)22131500 地址 : 广州市广园快速路汇景路汇苑街 19 号 No.19 Huiyuan Street, Huijing Road, Guangyuan Express Road, GZ
CONTENTS 目 录
Photo by Bruce Damonte, courtesy of The Broad and Diller Scofidio + Renfro
艺术家工作室 PROFILE 让伤痛照亮我们 —— 读邓洧的画
062
当代艺术下的“在现在”立场
070
The "At the Present" Stance in Contemporary Art
人类纪再认知的践行
078
Anthropocene
“恢复现场” 回溯无意识的原始意向
086
Restoration of the Site Retracing the Archetypes of the Unconscious
平静的汹涌 —— 读杨锴的画
094
Yang Kai: Passions of Silence
无悔的狂澜 —— 关于杨锴和他的艺术
098
Yang Kai: Raging Waves with No Regrets
王乐：用色彩印象叙述生活斑斓
100
Wang Yue: Describe Beautiful Life with Color Impression
Written by Ji Shaofeng
撰文：冀少峰
撰文：任剑
撰文：伍朝艺
撰文：杨卫
采编：林建华
6
GALLERY MAGAZINE
Written by Ren Jian
Written by Stormy Wu
Written by Zhang Zhaoying
撰文：张钊瀛
撰文：彭锋
Deng Wei: Let the Pain Lights Us Up
Written by Peng Feng
Written by Yang Wei
Interviewed by Hana Lam
三
位
一
体
艺
术
品
经
营
平
台
，
全
新
启
航
艺术引领生活 传播塑造经典
Art Leads Life style Communication Creates Uniqueness
ISSUE 219 / February 2017 国内统一刊号：CN44-1008/J 国际标准刊号：ISSN1000-4815
ORGANIZATION 主管 PUBLISHER 主办 ADD 地址 ZIP CODE 邮政编码 TEL 电话 FAX 传真 ASSOCIATE PUBLISHER 协办 ART GALLERY MAGAZINE PUBLISHING HOUSE ADD 《画廊》编辑部地址 TEL 电话 FAX 传真 BEIJING OFFICE 北京 TEL 电话 FAX 传真
PUBLISHER 社长 EXECUTIVE PUBLISHER 执行社长 EDITOR-IN-CHIEF 主编 EXECUTIVE EDITOR-IN-CHIEF 执行主编 PLANNING DIRECTOR 策划总监 PLANNING EDITORS 策划编辑 COORDINATOR 流程编辑 ENGLISH EDITOR 英文编辑 ART EDITOR 美术编辑 INTERN EDITOR 实习编辑 TRANSLATORS 翻译
FOREIGN CORRESPONDENTS 海外特约撰稿人
U.S. CORRESPONDENTS 驻美国通讯员 HOTLINE FOR GALLERIES 画廊专线 SUBSCRIPTION 订阅专线 ADVERTISING AGENCY 广告代理 LEGAL ADVISOR 法律顾问 ADVERTISEMENT BUSINESS LICENSE 广告经营许可证号 DISTRIBUTION 总发行 CHINA DISTRIBUTION REPRESENTATION 国内发行代理 ISSUE 国内发行代号 INTERNATIONAL DISTRIBUTION 国外总发行 INTERNATIONAL ISSUE NO 国外发行代号 PRINTING 制版印刷 ISSUE DATE 出版日期 WEBSITE E-MAIL MICORO-BLOG PRICE 国内定价 PRICE FOR HONG KONG, MACAO, TAIWAN 港澳台定价 FOREIGN PRICE 国外定价
PUBLISHING编辑出版 GALLERY MAGAZINE 《画廊》编辑部 广东省文学艺术界联合会 GUANGDONG FEDERATION OF LITERARY AND ART CIRCLES 广东岭南美术出版社有限公司 LINGNAN ART PUBLISHING HOUSE LED. 广州市文德北路170号3楼 NO.170 WENDEBEI ROAD, GUANGZHOU 510045 (8620）83333519 (8620）83346790 广东万品文化艺术发展有限公司 GUANGDONG WANPIN ART AND CULTURE DEVELOPMENT CO., LTD. 广州市广园快速路汇景路汇苑街17号 邮编：510641 NO.17, Huiyuan Street, Huijing Road, Guangyuan Express Road, Guangzhou ZC: 510641 (8620）22131512 (8620）22131501 北京市朝阳区酒仙桥路甲4号宏源公寓B2006室 邮编：100015 B2006, HONG YUAN APT, NO.4 A JIUXIANQIAO RD(798 ART), CHAOYANG DIST, BEIJING ZC: 100015 (8610）64349450 (8610）64349450
李健军 LI JIANJUN 许习文 XU XIWEN 翁少敏 WENG SHAOMIN 李琼波 LI QIONGBO 林少惠 LIN SHAOHUI 徐 游 SHELL XU 董明乐 DONG MINGYUE 邓冬燕 DONG DONG 黄子正 MAX WONG 甘晓欣 MANDYGC 温可琳 COLLEEN WEN 李 承 LI CHENG 熊佳莉 JASMINE XIONG 陈 娴 LUCY CHEN 江婷婷 JIANG TINGTING 黄肖彦 MICHELLE HUANG 大卫·帕格尔 DAVID PAGEL （美国 U.S.）明 月 MING YUE（澳大利亚 AUSTRALIA） 林悦熙 LIN YUEXI（美国 U.S.） 陈伟梅 WEIMEI CHEN （美国 U.S.） 刘 娟 JANE LIU（美国 U.S.）柯 鹏 KE PENG （德国 GERMANY） 赵 洲 ZHAO ZHOU（德国 GERMANY）李晓欣 ELLIE LI （英国 UK） 徐栎栎 XV LILI（意大利 ITALY）杜 艇 DU TING （澳大利亚 AUSTRALIA） 李征程 CHRISTOPHER LI 李 意 LI YI (8620）22131512 (8620）22131511/ 13826155332 广州市丹蓝广告有限公司 杨 帆 YANG FAN 4400004000236 广东岭南美术出版社有限公司 LINGNAN ART PUBLISHING HOUSE LED. 广东省报刊发行局 GUANGDONG PRINT JOURNALISM DISTRIBUTION DEPARTMENT 46-332 中国图书贸易总公司（北京399信箱）CHINA BOOKS TRADING COMPANY (P.O.BOX399, BEIJING） BM3024 广州市千彩纸品印刷有限公司 Guangzhou Qiancai Paper Printing Co.，Ltd. 每月五日 MONTHLY PUBLISHED www.53-gallery.com gallery@53-gallery.com http://weibo.com/gallerymagazine RMB 36.00 PER ISSUE US＄ 16.00（含邮资费）US ＄16.00 （INCLUDING SHIPPING ） US＄ 30.00（含邮资费）US ＄30.00 （INCLUDING SHIPPING ）
创意SHOW
ART SHOW
ART MALL
www.oneartone.com
RMB
RMB
800
800
1500
cgd
COBUEB
FAST LIFE
CGD
COBUEB
快节奏的生活
作 者 / ARTIST：克里斯蒂娜·德布塞夫
作 者 / ARTIST：鲁斯兰·阿吉尔
作 者 / ARTIST：克里斯蒂娜·克洛斯
Christine Debooseve（比利时）
Ruslan Agirba（乌克兰）
Cristina Croce（意大利）
尺 寸 / DIMENSIONS：6.5cm × 9.0cm
材 质 / MATERIAL：凹版 intaglio
材 质 / MATERIAL：凹版 intaglio
尺 寸 / DIMENSIONS：17.5cm × 24.0cm
尺 寸 / DIMENSIONS：20.0cm × 20.0cm
咨 询 电 话 Te l ： 020-29179000 官方网站 Web： www.oneartone.com 实体店地址 Add： 广州市天河区广园快速路汇景路汇苑街 19 号 53 艺术园区内 53 道体验店 No.19 Hui Yuan Street Huijing Road, Guangyuan Express Road,Guangzhou
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RMB
GALLERY MAGAZINE
RMB
RMB
RMB
1000
600
600
FLYING-1
FREEDOM · HEART
VIRGO
翔之一
自由·心扉
处女座
作 者 / ARTIST：吾要 Wu Yao
作 者 / ARTIST：邹振勇 Zou Zhenyong
作 者 / ARTIST：李海强 Li Haiqiang
材 质 / MATERIAL：凹版 intaglio
材 质 / MATERIAL：网版 Screen Printing
尺 寸 / DIMENSIONS：13.1cm × 7.8cm
尺 寸 / DIMENSIONS：22.5cm × 30.0cm
尺 寸 / DIMENSIONS：27.5cm × 19.5cm
产品说明：“广州国际藏书票暨小版画双年展”是一个常规性的学术展览，在世界各国艺术家、
Description: “Guangzhou International Exlibris and Mini-Prints Biennial” is a regular academic
收藏家和相关机构的大力支持下，经过多年的建设和完善，该展已成为一个具有广泛影响的国际
exhibition. With the support of artists, collectors and related organizations from all over the world, the
高端学术平台。这六件优秀的小版画作品正是出自这个具有国际影响力的展览，它们出自不同的
exhibition has become an international high-end academic platform with extensive influence after years
名家之手，其不同的题材以娴熟的技法来展现，内容寓意深刻，线条细腻、流畅且有韵致，特别
of development. It is this internationally influential exhibition that the six outstanding mini-prints come
是黑白色调的对比使画面具有强烈的冲击力，在整体上呈现出作者对版画语言的把握能力。而正
from. Created by different masters, they are characterized by unique techniques, different themes, and
是由于作者对版画语言的严格追求，使得这批小版画在“小”的格局中兼具诗意与大气的美。
profound implications. The delicate, smooth and elegant lines and the strong impact delivered by the contrast of black and white, especially, demonstrate generally the artists’ grasp of the print language. It is precisely their strict requirements of the print language that render these mini-prints both poeticalness and grandeur despite their small sizes.
GALLERY MAGAZINE
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圈里圈外
THE ART CROWD
展览现场 At the exhibition
展览现场 At the exhibition
香港白立方
英国泰特美术馆
2017 年 1 月 18 日，“迈克尔·艾尔米塔什：奇异的果实” 展览在香港白立方拉开帷幕。 Opening of Michael Armitage: Strange Fruit at White Cube, Hong Kong on Jan 18, 2017.
2017 年 2 月 9 日，“大卫·霍克尼大型回顾展”在英国 泰特美术馆揭幕。 Opening of David Hockney solo exhibition at Tate Britain on Feb 9, 2017.
White Cube · Hong Kong
Tate Britain · London
展览现场 At the exhibition
澳大利亚当代艺术中心
台北耿画廊
2017 年 2 月 13 日，何岸个展“看看大哥能帮帮她吗” 在澳大利亚当代艺术中心开幕。 Opening of He An solo exhibition Do you think that you can help her brother? at Australian Center for Contemporary Art, Melbourne on Feb 13, 2017.
2017 年 2 月 18 日，“周休八日：姚瑞中个展”在台北 耿画廊开幕。 Opening of Yao Ruizhong solo exhibition Eight days a Week at Tina Keng Gallery, Taibei on Feb 18, 2017.
Australian Center for Contemporary Art · Melbourne
10
展览现场 At the exhibition
GALLERY MAGAZINE
Tina Keng Gallery · Taipei
展览现场 At the exhibition
展览现场 At the exhibition
广东美术馆
东京国立新美术馆
2017 年 2 月 21 日，“质朴与温度——林毓豪回顾展”在广东 美术馆圆满开幕。 Opening of Simpicity and Sincerity: Retrospective Exhibition of Lin Yuhao at Guangdong Museum of Art, Guangzhou on Feb 21, 2017.
2017 年 2 月 22 日，“草间弥生：我永远的灵魂”在东 京国立新美术馆开幕。 Opening of Yayoi Kusama: My Eternal Soul at The National Art Center, Tokyo on Feb 22, 2017.
Guangdong Museum of Art · Guangzhou
The National Art Center · Tokyo
展览现场 At the exhibition
展览现场 At the exhibition
余德耀美术馆
成都当代美术馆
2017 年 2 月 25 日，“周力：白影”展览在余德 耀美术馆开幕。 Opening of Zhou Li: Shadow of the Wind at YUZ Museum, Shanghai on Feb 25, 2017.
2017 年 2 月 25 日，李勇政个展“你好”在成都当代美 术馆开幕。 Opening of Li Yongzheng solo exhibition Hello at Museum of Contemporary Art Chengdu on Feb 25, 2017.
YUZ Museum · Shanghai
Museum of Contemporary Art Chengdu · Chengdu
GALLERY MAGAZINE
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圈里圈外
THE ART CROWD
北京 Beijing 尤伦斯当代艺术中心 例外状态：中国境况与艺术考察 2017 时间：2017 年 3 月 19 日 – 2017 年 7 月 9 日 地址：北京市朝阳区酒仙桥路 4 号 798 艺术区 4 号路 电话：8610-57800200 网址：www.ucca.org.cn
空白空间 何翔宇 时间：2017 年 2 月 18 日 - 2017 年 3 月 30 日 地址：北京朝阳区机场辅路草场地 255 号 电话：8610-84562054 网址：www.whitespace-beijing.com
Ullens Center for Contemporary Art The New Normal: China, Art, and 2017
White Space Beijing He Xiangyu
Duration: Mar 19, 2017 - Jul 9, 2017
Duration: Feb 18, 2017 - Mar 30, 2017
Add: 798 Art District, No. 4 Jiuxianqiao Lu, Chaoyang District, Beijing
Add: No.255 Caochangdi, Airport Service Road, Chaoyang District, Beijing
Tel: 8610-57800200
Tel: 8610-84562054
Web: www.ucca.org.cn
Web: www.whitespace-beijing.com
中央美术学院美术馆 文献展的神话：阿尔诺德 · 博德与他的后继者们 时间：2017 年 3 月 1 日 – 2017 年 3 月 31 日 地址：北京市朝阳区花家地南街 8 号 电话：8610-64771575 网址：museum.cafa.com.cn
佩斯北京 隋建国：肉身成道 时间：2017 年 3 月 9 日 – 2017 年 4 月 1 日 地址：北京朝阳区酒仙桥路 2 号 798 艺术区 电话：8610-59789781 网址：www.pacegallery.com
Vanguard 画廊 朱昶全：有头无脑 时间：2017 年 1 月 11 日 - 2017 年 4 月 2 日 地址：上海市莫干山路 50 号 4 号楼 A 座 204 电话：8621-52522551 网址：www.vanguardgallery.com
CAFA Art Museum The myth of documenta: Arnold Bode and his heirs
Pace Beijing Sui Jianguo: Trace
Vanguard Gallery Zhu Changquan: Head without brain
Duration: Mar 1, 2017 – Mar 31, 2017
Duration: Mar 9, 2017 - Apr 1, 2017
Duration: Jan 11, 2017 - Apr 2, 2017
Add: 8 South Hua Jia Di Street, Chaoyang District, Beijing
Add: 798 Art District, No. 2 Jiuxianqiao Road, Chaoyang District, Beijing
Add: A204 Bldg.4, 50 Moganshan Rd., 200060, Shanghai
Tel: 8610-64771575
Tel: 8610-59789781
Tel: 8621-52522551
Web: www.museum.cafa.com.cn
Web: www.pacegallery.com
Web: www.vanguardgallery.com
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GALLERY MAGAZINE
798 艺术工厂 想的美 —— 娄申义 2017 个展 时间：2017 年 2 月 25 日 – 2017 年 3 月 20 日 地址：北京朝阳区酒仙桥路 4 号 798 艺术区陶瓷三街 798 Art Factory Lou Shenyi: Xiang De Mei Duration: Feb 25, 2017 - Mar 20, 2017 Add: No.3 Taoci Street, 798 Art District, No. 2 Jiuxianqiao Road, Chaoyang District, Beijing
上海 Shanghai
成都 Chengdu 千高原艺术空间 春纪 2017 时间：2017 年 3 月 18 日 – 2017 年 5 月 7 日 地址：成都市高新区盛邦街铁像寺水街南广场 电话：8628-85126358 网址：www.1000plateaus.org 盈艺术中心 我不在我所在 —— 韩言松作品 2013-2016 时间：2017 年 3 月 5 日 - 2017 年 4 月 5 日 地址：上海市普陀区莫干山路 97 号 电话：8621-56513933 网址：www.yingart.cn Ying Art Center I am not where I am: Han Yansong 2013-2016 Duration: Mar 5, 2017 - Apr 5, 2017
广州 Guangzhou
Aura Gallery Spring Discovery 2017 Duration: Mar 18, 2017 - May 7, 2017 Add: South Square, Tiexiang Temple Riverfront, Shengbang Street, High-tech
5Art Space 钟嘉玲：尴尬 时间：2017 年 3 月 17 日 – 2017 年 4 月 17 日 地址：广州市越秀区恤孤院路 9 号逵园三楼
Development Zone, Chengdu Tel: 8628-85126358 Web: www.1000plateaus.org
重庆 Chongqing
Add: 97 Mo Gan Shan Road, Puto, Shanghai
5Art Space Zhong Jialing: Embarrassed
Tel: 8621-56513933
Duration: Mar 17, 2017 - Apr 17, 2017
Web: www.yingart.cn
Add: 3rd flood, No.9 Xuguyuan Road, Yuexiu District, Guangzhou
香格纳画廊 M50 来来来 时间：2017 年 3 月 10 日 – 2017 年 4 月 30 日 地址：上海普陀区莫干山路 50 号 16 号楼 网址：www.shanghartgallery.com
本来画廊 广东新语 时间：2017 年 3 月 17 日 – 2017 年 5 月 20 日 地址：广州市越秀区泰康路 84 号后座二楼 电话：8620-89027033
Shanghart gallery M50 SOW
bonacan gallery New Notes of Guangdong
Duration: Mar 30, 2017 - May 21, 2017
Duration: Mar 10, 2016 - Apr 30, 2017
Duration: Mar 17, 2017 - May 20, 2017
Chongqing
Add: Bldg 16, 50 Moganshan Rd., Putuo District, Shanghai
Add: 2/F, Taikang Rd, Yue Xiu District, Guangzhou
Tel: 8623-67969333
Web: www.shanghartgallery.com
Tel: 8620-89027033
Web: www.thelongmuseum.org
龙美术馆 高瑀：不现实之二 时间：2017 年 3 月 30 日 – 2017 年 5 月 21 日 地址：重庆市江北区聚贤岩广场 9 号国华金融中心 1 楼 电话：8623-67969333 网址：www.thelongmuseum.org Long Museum Gao Yu: Unreality Ⅱ Add:1F, Guohua Finacial Center, No.9 Juxianyan Plaza, Jiangbei Distrct,
GALLERY MAGAZINE
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圈里圈外
THE ART CROWD
美国 USA George Billis Gallery 卡罗尔 · 伊内兹 · 查尼：绘画后 时间：2017 年 3 月 4 日 - 2017 年 4 月 1 日 地址：2716 S. La Cienega Blvd, Los Angeles 网址：www.georgebillis.com George Billis Gallery Carol Inez Charney: After Painting
Taymour Grahne Gallery Maia Cruz Palileo: 亲爱的 , 亲爱的 , 亲爱的 时间：2017 年 2 月 28 日 - 2017 年 4 月 22 日 地址：157 Hudson Street, New York 电话：+1 212 240 9442 网址：www.taymourgrahne.com Taymour Grahne Gallery Maia Cruz Palileo: DEAR, DEAR, DEAR Duration: Feb 28, 2017 - Apr 22, 2017
Duration: Mar 4, 2017 - Apr 1, 2017
Add: 157 Hudson Street, New York
Add: 2716 S. La Cienega Blvd, Los Angeles
Tel: +1-212-240-9442
Web: www.georgebillis.com
Web: www.taymourgrahne.com
玛丽安伯斯基画廊 皮耶 · 保罗 · 卡佐拉里：我说 时间：2017 年 2 月 16 日 - 2017 年 3 月 25 日 地址：507 & 509 West 24th Street, New York 电话：+1-212-680-9889 网址：www.marianneboeskygallery.com Marianne Boesky Gallery Pier Paolo Calzolari: And I say
英国 Britain The Cob Gallery 塞缪尔 · 齐利：飞机 时间：2017 年 3 月 16 日 - 2017 年 4 月 8 日 地址：205 Royal College Street, London 网址：www.cobgallery.com
Lawrence Alkin Gallery 尼克 · 史密斯：腔调 时间：2017 年 3 月 3 日 - 2017 年 4 月 1 日 地址：42 New Compton Street, London 电话：+44-20-72407909 网址：www.lawrencealkingallery.com Lawrence Alkin Gallery Nick Smith: Parlance Duration: Mar 3, 2017 - Apr 1, 2017 Add: 42 New Compton Street, London Tel: +44-20-72407909 Web: www.lawrencealkingallery.com
Rebecca Hossack Art Gallery 托比 · 巴罗斯：独白 时间：2017 年 3 月 2 日 - 2017 年 4 月 1 日 地址：Charlotte Street, London 电话：+44-20-72552828 网址：www.rebeccahossack.com Rebecca Hossack Art Gallery Toby Burrows: Soliloquy
Duration: Feb 16, 2017 - Mar 25, 2017
The Cob Gallery Samuel Zealey: Planes
Add: 507 & 509 West 24th Street, New York
Duration: Mar 16, 2017 - Apr 8, 2017
Add: Charlotte Street, London
Tel: 212-680-9889
Add: 205 Royal College Street, London
Tel: +44-20-72552828
Web: www.marianneboeskygallery.com
Web: www.cobgallery.com
Web: www.rebeccahossack.com
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GALLERY MAGAZINE
Duration: Mar 2, 2017 - Apr 1, 2017
白立方画廊梅森苑 弗雷德 · 托马塞利：报纸 时间：2017 年 3 月 17 日 - 2017 年 5 月 13 日 地址：25-26 Mason's Yard, London 电话：+44-20-79305373 网址：www.whitecube.com White Cube Fred Tomaselli: Paper Duration: Mar 17, 2017 - May 13, 2017
澳大利亚墨尔本 Mars Gallery 丹尼尔 · 托雷：镜像 时间：2017 年 3 月 2 日 - 2017 年 4 月 1 日 地址：7 James Street, Windsor, Melbourne 网址：marsgallery.com.au
新加坡 FOST Gallery Nguan：孤独如何离去 时间：2017 年 2 月 28 日 - 2017 年 4 月 12 日 地 址：1 Lock Road #01-02, Gillman Barracks Singapore 电话：65-6694-3080 网址：www.fostgallery.com
Add: 25-26 Mason's Yard, London
Mars Gallery·Melbourne Danielle Tooley: Mirror Image
Tel: +44-20-79305373
Duration: Mar 2, 2017 - Apr 1, 2017
FOST Gallery·Singapore Nguan: How Loneliness Goes
Web: whitecube.com
Add: 7 James Street, Windsor, Melbourne
Duration: Feb 28, 2017 - Apr 12, 2017
Web: marsgallery.com.au
Add: 1 Lock Road #01-02, Gillman Barracks Singapore
其他国家 Other Countries 韩国首尔 现代画廊 Kim Sung Ho: 海市蜃楼 时间：2017 年 3 月 8 日 - 2017 年 4 月 16 日 地址：14 Samcheong-ro, Jongno-gu, Seoul 网址：www.galleryhyundai.com Gallery Hyundai·Korea Kim Sung Ho: Mirage
Tel: 65-6694-3080
日本东京 ShugoArts Ritsue Mishima：星星 时间：2017 年 2 月 18 日 - 2017 年 4 月 1 日 地址：東京都港区六本木 6-5-24 complex665 2F 电话：+81-3-6447-2234 网址：shugoarts.com ShugoArts·Tokyo Ritsue Mishima: Stars
Web: www.fostgallery.com
德国柏林 Delmes & Zander 希普吉斯：是的 , 但没有。 时间：2017 年 2 月 17 日 - 2017 年 4 月 15 日 地址：Rosa-Luxemburg-Straße 37, 10119 Berlin 网址：www.galerie-zander.de
Duration: Feb 18, 2017 - Apr 1, 2017
Delmes & Zander·Berlin Hipkiss - Yes, but No.
Duration: Mar 8, 2017 - Apr 16, 2017
Add: complex665 2F, 6-5-24, Roppongi Minato-ku Tokyo
Duration: Feb 17, 2017 - Apr 15, 2017
Add: 14 Samcheong-ro, Jongno-gu, Seoul
Tel: +81-3-6447-2234
Add: Rosa-Luxemburg-Straße 37, 10119 Berlin
Web: www.galleryhyundai.com
Web: shugoarts.com
Web: www.galerie-zander.de
GALLERY MAGAZINE
15
圈里圈外
THE ART CROWD
The
Distinguishing 撰文：蓝庆伟 （艺评人、策展人、成都当代美术馆执行馆长） Written by: Lan Qingwei ( Art critic, curator and Executive Director of Chengdu Museum of Contemporary Art )
几种美术馆策展人的界分 of Different Types of Curators
在谈美术馆策展人的界分时，一个前提问题不 能回避，即美术馆是否适宜设置策展人？这一看似
美术馆内的三类并非是明确定义为“策展人”的策
他们的工作常常针对美术馆的收藏、展览、馆刊等
展人不断地出现。
展开，在有系列藏品收藏的美术馆研究部，学术成
馆长策展人不能算作一个有效的专有名词，只
因博物馆—美术馆策展人传统而本无异议的话题，
果也因重要藏品而凸显。在美术馆藏品陈列的展览
在中国有着它的独特性，并不断地引发讨论。首先，
因诸多馆长常常占据着本馆策展人的位置（或者说
组织上，他们的研究成果常常被以展览的形式呈现，
基于藏品研究与策展的传统博物馆—美术馆策展人
馆长常常扮演着策展人的角色），在不排除馆长即
虽然这类人群并未被冠以策展人的头衔，但他们的
缺失，藏品的不足与不完善常常让美术馆策展人面
是策展人出身的前提下，馆长策展人所折射的首先是
研究以及研究的呈现是对藏品展示最好的策展。
临着“巧妇难为无米之炊”的尴尬，而此时美术馆
美术馆分工混乱与制衡问题，王南溟在《美术馆不宜
作为联合策展人的美术馆策展人又可称为双
也倾向于借助社会力量来完成展览，在这样的情况
设策展人岗位》也论述了这一点：“当美术馆策展人
（三）年展联合策展人，或大型展览联合策展人，
下策展部充当着展览协调人的角色；其次，美术馆
正在为各机构所使用的时候，由于美术馆馆长直接在
这似乎是美术馆在应对馆内策展人与馆外策展人矛
策展人与非美术馆策展人在策展工作上的重合度较
自己的馆内做策展人，馆长是让独立策展人体现自由
盾点的有效方式，其两方面的优势让越来越多的国
大，在培养本馆策展人与聘用馆外策展人的选择上
学术的一个战略推动者，所以从艺术管理导论中，馆
内美术馆热衷于采用这种方式——既能做到馆外策
面临着艺术界的评论压力，非常明显的是当下较有
长不能在自己的美术馆内做策展应该成为基本原则。”
展人的聘请同时又不忽视馆内策展人的作用。而这
名气的策展人更习惯于所谓“独立策展人”的身份
如美术馆的策展人工作长期被馆长垄断，大抵有两个
种情况下参与这一联合策展人的馆长，也成功消解
自由，而不愿意羁绊在某一个美术馆或机构内。即
原因，首先是国内美术馆的官本位机制，馆长权利一
了“馆长策展人”所带来的诟病。我们可以借鉴
便是美术馆策展人，在名气提升后，其业务范围也
家独大，自然无法使美术馆的各项工作形成制衡与平
泰特的策展人分层模式来简单分辨策展人之间的
不再局限于本美术馆内。再次，基于前两点原因下
衡。此时，抛头露面且常被认定为学术体现的策展
区别——“泰特的专业研究人员共分了五层：馆
所设置的美术馆策展人是否是最合适的策展人选？
人工作，能够最直观地体现馆长能力，而耗时费力
长（Director） — 主 策 展 人（Chief Curator） —
如果不是，则又面临着是否有必要设置美术馆策展
的档案整理与研究工作则是这一类馆长策展人不愿
策 展 人（Curator） — 助 理 策 展 人（Assistant
人的问题。
主动接触的。其次，美术馆制度的缺失造成美术馆
Curator）—展览协调人（Coordinator）”泰特专
分工的非职业化，馆长缺乏明确定位与执行，馆长
业研究人员的各个不同的名称有效的区分了各自的
学术策划部、学术研究部、研究策划部是我们常常
这一职位通常是管理者的角色而非一个学术评价角
主要职责和权责范围。即便是联合策展人的出现，
看到的，这样的设置似乎或多或少针对着“美术馆
色。
职责分工也将是必不可少的，而作为美术馆方的策
在美术馆的机构设置中，展览部、展览策划部、
是否适宜设置策展人？”这一问题，不同于明确设
研究部策展人在这里是指在美术馆机构分工中
展人自然需要承担展览协调人的角色。当然在大型
置“策展人”，这样的设置采取可进可退模棱两可
处于学术研究部的研究者，而非策展部或展览部策
双（三）年展的筹备过程中，双（三）年展办公室
的方式来化解因设置“策展人”但却又名不副实所
展人，他们的工作价值常常被世俗的眼光所忽略，
也常常作为临时组织机构的展览协调人。
带来的批评压力。但不论是否明确设置“策展人”，
常年做着案头研究工作，或者是美术史研究工作，
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GALLERY MAGAZINE
hen it comes to the
rectification of the name, three types of undefined
than curators of the curatorial or exhibition divisions.
distinguishing of different
“curators” keep appearing in art galleries.
These people’s work values are often neglected by the
types of curators, a prerequisite
Technically, “director-curator” is not a valid
worldly eyes. Often doing desk studies or art history
question must be asked: is it
proper noun, as in many cases, it is the position of
research, they concentrate on the collection, exhibition
appropriate for art galleries
curator occupied by the director of the same gallery (or
or magazine publication of the gallery, and in galleries
to set up the position of curator? What seems to be
should we say, the director plays the role of a curator).
where series collections are collected, academic
undisputed due to the tradition of art museum/gallery is,
Without excluding the possibility that a director is
achievements of the research division are highlighted
however, exceptional in China and has been triggering
developed from a curator, what the phenomenon of
by important collections. In the organization of
discussions. First is the lack of traditional art museum-
“director-curator” first reflects is a gallery’s disorder
collections display, their research results are often
gallery curators specialized in the study of collections
of labor division and failure in power restriction of the
presented in the form of exhibition. Therefore, though
and exhibition curation, coupled with the insufficient
director. In Setting Up Curator Position Is Advisable
these people are not officially titled as curators, their
and incompleteness of collections that pose a challenge
in Galleries, Wang Nanming also discusses this topic:
research and presentation of the research are the best
for existing curators, demanding them to “make bricks
“When art curators are employed by more than one
curation of collection display.
without straw”. Under such circumstances, art galleries
organizations, the dual role a director plays as the
Gallery curators in the form of joint curators can
tend to turn to social forces for help, thus turning the
curator of his gallery is an even more serious violation
also be called biennale (or triennial) joint curators or
curatorial division into more of a coordinator. Secondly,
to the principle of check and balance according to the
joint curators for large exhibitions. This seems to be
the curatorial work of gallery curators and non-gallery
curator principle. A director should play the role of a
an effective way of resolving the dilemma of training
curators is overlapped for the most part, and due to
strategic impeller for independent curators to enjoy
in-house curators or hiring curators from outside.
the fact that prestigious curators are more accustomed
academic freedom, and therefore, in the introductory of
More and more Chinese art galleries are prone to
to being working as “independent curators” rather
art management, it should be written as a basic principle
adopting this form for its advantages of both hiring
than being employed solely by a certain art gallery or
that a director cannot be in charge of curatorial work in
prestigious curators and enabling in-house curators
organization, galleries face much critical pressure from
his own gallery.” If the position of curator is for a long
to play their role. In this way, director playing as
the art circle in the choice of training in-house curators
time monopolized by the director, two reasons should
one of the joint curators has successfully resolved
or hiring curators from the outside. But even in-house
take most of the blame: first is the bureaucracy nature
denunciation targeted at “director-curator”. We can
curator will expand his businesses beyond the gallery
of Chinese art gallery where a director has absolute
borrow Tate’s curator hierarchical model to briefly
after spread of reputation. Even more, is a curator
dominance and the result is an organization with no
distinguish different types of curators: Tate divides
positioned based on the aforementioned two reasons the
balance in power. Under such circumstances, curatorial
professional researchers into five tiers, being Director-
most appropriate candidate? If not, then we are back
work that sets a curator in the spotlight and is often
Chief Curator-Curator-Assistant Curator-Coordinator.
again to the question of whether it is necessary to set up
recognized as the embodiment of academic competence
The different titles differentiate the researchers’ major
the position of curator.
can in a most intuitive way reflect a director ’s
responsibilities, rights, and liabilities. Even with joint
In the institutional structuring of an art gallery, we
capacity, while time-and-energy-consuming archival
curators, a division of responsibilities is necessary, and
often see divisions of exhibition, exhibition planning,
arrangement and research work are the last things these
the in-house curator should naturally take up the role of
academic planning, academic research and research
“director-curators” would do. Secondly, the lack of
exhibition coordinator, though during the preparation of
planning. Such structuring seems to have taken into
gallery system results in the unprofessionalization of
large-scale biennale (or triennial) exhibitions, biennial
consideration the uncertainty of appropriateness in
labor division, and therefore, the job of a director is
(or triennial) offices are often regarded as coordinator
setting up the position of curator, because unlike the
not unequivocally positioned and implemented, and a
of the makeshift organization.
unequivocal practice of setting up a “curator division”,
director often plays the role of a manager rather than an
the structuring uses a roundabout method to resolve
academic evaluator.
any critical pressure that may occur if the setting up
Research curator here refers to researchers in the
of a curator is unworthy of its title. But even without
academic research division of an art gallery rather
GALLERY MAGAZINE
17
画廊大视野
EYESHOT OF GALLERIES
Cult Classic 催化聚氨酯、环氧树脂和丙烯酸 CULT CLASSIC 9cm×8cm×11cm catalyzed polyurethane, epoxy resin, and acrylic 2016
Intangible Assets 陶瓷、催化聚氨酯和环氧树脂 INTANGIBLE ASSETS 11cm×17cm×8cm ceramic, catalyzed polyurethane, and epoxy resin 2016
THE MIND-BENDING POETRY
超越诗意的律动 撰文：大卫·帕格尔（克莱蒙特研究生大学艺术理论和艺术史教授，《洛杉矶时报》艺术撰稿人） Written by David Pagel ( Professor of Art Theory and History, Claremont Graduate University; regular contributor to the Los Angeles Times ) 编辑：黄子正 Edited by Max Wong 图片来源： Photos © Ron Nagle, Courtesy Matthew Marks Gallery
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GALLERY MAGAZINE
Curried Favor 陶瓷、催化聚氨酯和环氧树脂 CURRIED FAVOR 11cm×8cm×11cm ceramic, catalyzed polyurethane, and epoxy resin 2016
Oeuvre Removal 陶瓷、瓷器釉、催化聚氨酯和环氧树脂 OEUVRE REMOVAL 10cm×9cm×13cm ceramic, porcelain, glaze, catalyzed polyurethane, and epoxy resin 2016
罗恩·内格尔（Ron Nagle）上一次在洛杉矶举办个展是 2005 年，自那之后，
lot has happened in the world since Ron Nagle’s last solo show
世界发生了很多大事件。已完成任期的巴拉克·奥巴马以第一位非裔美国人总统的
in Los Angeles, which was in 2005. Barak Obama has come
身份在美国历史上留名；美国经历了一次经济大萧条；美国军方从伊拉克和阿富汗
and gone as the first African-American President of the United
撤出大部分军队，但继续用无人机在叙利亚、也门、巴基斯坦及许多其他的中东国
States. The Great Recession has also come and gone. The U.S.
家展开反恐战争，包括枪杀了奥萨马·本·拉登（Osama bin Laden）；英国脱离了 欧盟，一名真人秀电视演员成为美国第 45 任总统。
military withdrew most of its troops from Iraq and Afghanistan, but continued its war on terrorism with drone attacks in Syria, Yemen, and Pakistan,
内格尔的作品也发生了很多变化。他的作品一如既往的深刻、古怪和肉欲，
among many other countries in the Middle East, as well as its execution of Osama bin
但如今，作品会提出一些存在主义层面的大问题，且对于答案是否简单、直接或
Laden. The United Kingdom left the European Union and a reality television actor
合乎逻辑，甚至不给予任何暗示。内格尔在马修·马克斯画廊（Matthew Marks
became the 45th President of the United States.
Gallery）举办的这个名为 Ice Breaker 的展览离奇古怪得令人费解，它引导观众去
A lot more has happened in Nagle’s work, which is still intimate, whimsical,
深刻体会生活的跌宕起伏、迂回曲折以及毫无逻辑的因果循环。然而，艺术家并不
and sensual, yet now asks big existential questions without ever suggesting that the
直接告诉观众该如何思考或如何反应，而是希望我们自己探索出真谛。
answers might be simple, direct, or logical. Titled Ice Breaker, Nagle’s mind-bending
内格尔于 1939 年出生于加州三藩市，在 1960 年代社会激进主义席卷美国的前
exhibition at Matthew Marks Gallery takes visitors to the heart of what it means to be
夕迎来了成年礼。这是一个以自我发现、自我探索和自我界定为思想潮流的时代，
alive—to life’s ups and downs, its wild twists and turns, its illogical ins and outs. He
GALLERY MAGAZINE
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画廊大视野
EYESHOT OF GALLERIES
展览现场 at the exhibition
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GALLERY MAGAZINE
激进主义运动将性解放、毒品和摇滚带到了时代的前沿。对内格尔来
does so without telling viewers what we should be thinking or how we
说，这些反文化的叛乱比 1950 年代美国的纪律化管理要好，但在这
should be responding, preferring, instead, that we figure things out for
位年轻艺术家看来，这场激进主义运动仍有太强的集体倾向，太拖泥
ourselves.
带水，太过情绪化；长久以来的独立和独行侠个性培养了这位艺术家
Born in 1939 in San Francisco, California, Nagle came of age of
独立思考的能力。这反映了他对艺术的追求。最后，他在杯子大小的
just before the social radicalism of the 1960s swept the nation, bringing
陶瓷创作中找到了思想的出口，即使极少观众明白他在做什么。制作
sex, drugs, and rock-’n’-roll to the forefront of an era of self-discovery,
如此小规模的粘土作品，调色，精心抛光，再为作品附上搞笑的名字，
self-exploration, and self-definition. All of that countercultural rebellion
一个艺术家所能做的最无趣的事也无非如此了。但对内格尔来说，被
was better, for Nagle, than the lemming-like regimentation of 1950s
忽略和被排斥是保持真实必须付出的代价。在这位特立独行的艺术家
America, but it was still too group-oriented, clingy, and touchy-feely
看来，如果你所做的事和其他人没有区别，那就没有做的必要了。但
for the young artist, whose independent-mindedness had been forged in
同时，不合群并不是艺术创作的目的，而是一个起点，不合群的艺术
the days of radical independence and go-it-alone individuality. That is
作品或许终将能为人们所理解。从一开始，具有启发性的洞见和令人
what he was after in his art. And he found it in small, cup-size ceramics,
激动的启示就是内格尔对艺术的追求。
even if few viewers understood what he up to. Working in clay, at that
超过半个世纪以来，内格尔已创造了数百件散发出致命吸引力的
scale, in a hot-rod palette, with exquisite finishes, and funny titles, was
雕塑作品。这些作品中，几乎每一件都不如一个茶杯的大小，从侧面
just about the most uncool thing an artist could do. For Nagle, however,
观看，绝妙的纹理和色彩搭配将每件作品都变成了三维画作，比数百
being ignored and excluded went hand-in-hand with being authentic.
倍大的雕塑作品更具生命力和轻松惬意之姿。没有比内格尔更好的艺
If doing your own thing looked anything like what anyone else was
术家了，他一点一滴地将更多的力量和快乐注入每件作品的每个细节
doing, there was, for the maverick artist, no point in doing it. At the
中，并为观众留下足以独自欣赏的空间。作为一名艺术家，内格尔是
same time, being a misfit was not the point of making art. It was the
一位赐予者。在内格尔所出生的时代、国家和社会阶层中，吸引人们
starting point of making something that others might eventually come
对自己的注意被认为是堕落的行为，因此，内格尔创作艺术从不是为
to understand. Eye-opening insight—and spine-tingling revelation—
了表达自己，披露自己的内心情感或展示自己的想法和信仰。反之，
were, from the very beginning, Nagle’s Holy Grail.
内格尔低调得彻底，他费尽心思就为了将自己的影子从作品中抽离出
For more than a half century he has made hundreds of diabolically
来，让观众可以自由地探索和发现。最后，当我们真正学会欣赏内格
beautiful sculptures, almost none bigger than a teacup and all meant to
尔作品中那异想天开的事物时，我们才终于能够理解内格尔的立场和
be seen in profile, their wickedly splendid textures and palettes turning
个人想法。但这并不是他创作的原因。内格尔十分不信任安慰性的感
them into three-dimensional paintings humming with more lively
情表露，自始至终，他创造的作品都是晦涩难懂的。
vitality and jaunty insouciance than works hundreds of times their size.
内格尔的抽象作品并不反对意义论。它们反对的是一个愚蠢的观
Centimeter for centimeter, there is no better artist than Nagle, who
点，即无需物质实体作为媒介，意义就能自然而然从艺术家的头脑传
loads more power and pleasure into every speck of every work—and
递至观众的脑中。让物质实体获得应得的认可是内格尔的专长，而且，
then leaves viewers enough room to enjoy it on our own. As an artist,
他采用的方法与他人不同。在他的手中，实体比寻常见到的更加绚丽：
Nagle is a gift-giver. Coming from a place, a time, and a social class
它们复杂、令人错乱又饱含情感，散发出神秘的味道，引导你去注意
in which it was considered déclassé to call attention to oneself, he has
每个细节。最后，他的作品让你感到你需要更多的东西，颠覆了你对
never made art to express his self, to reveal his inner sentiments, or to
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画廊大视野
EYESHOT OF GALLERIES
Corporal Shunt 陶瓷、催化聚氨酯、环氧树脂和丙烯酸 CORPORAL SHUNT 8cm×12cm×10cm ceramic, catalyzed polyurethane, epoxy resin, and acrylic 2016
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Glorious Assemblage 陶瓷、釉、催化聚氨酯、油墨和环氧树脂 GLORIOUS ASSEMBLAGE 9cm×12cm×8cm ceramic, glaze, catalyzed polyurethane, ink, and epoxy resin 2016
Don and Juan 陶瓷、催化聚氨酯和环氧树脂 DON AND JUAN 10cm×11cm×15cm ceramic, catalyzed polyurethane, and epoxy resin 2016
自己的认知。这是魔法，又或者，只是简单地注意
make a show of his feelings and beliefs. Radically self-effacing, Nagle pours loads of labor into
到活着的美好。无论是哪一种，这就是内格尔作品
his works to take himself out of the picture so that viewers might be free to discover things for
的魅力——如此动人的魅力。
ourselves. Eventually, if we really get into the wild stuff he is up to in his powerfully original
过去十年来，内格尔为作品引入了新的材料，
works, we will come to understand what Nagle stands for and who he is as a person. But that is
包括催化聚氨酯、环氧树脂和油墨。这让他能够创
never the reason he makes anything. Deeply distrusting chummy comforts, he makes works that
造新的艺术形式，几乎这些新的形式都脱离了数十
are elusive from start to finish.
年来艺术家孜孜不倦所采用的格式，那就是杯子。
Nagle’s abstract pieces of participatory intimacy are not opposed to meaning. They are only
直至目前，内格尔雕塑作品的形状都是各种“发育
opposed to the ham-fisted idea that meaning travels directly from the mind of the artist to the
不全”的容器：是杯子格式的突变体也好，是艺术
mind of the viewer, without the intercession of material reality. Giving reality its due is Nagle’s
家对杯子的基本特点进行的狂妄改造也好，这些形
specialty. And he does it like no one else. In his hands, reality is more splendid than usual:
状总是跳出功能性的界限，彻头彻尾地迈入（令人
complex, confounding, and charged, it sizzles with mystery and rivets your attention to every
神经错乱的）功能紊乱的范畴。杯子成为了背景式
detail. Ultimately, his works make you need more of something you never knew you wanted.
的存在，被更多样化的形式取代，包括烟灰缸、书夹、
That’s magic. Or simply paying attention to the best parts of being alive. In either case, it’s what
盆栽、水族馆、首饰盒还有钥匙孔。
Nagle does—magnificently.
冒险和创造可能性是内格尔的惯用手段。在这
Over the last ten years, he has introduced new materials to his work, including catalyzed
个布置巧妙的展览中，他不厌其烦地使用这两个手
polyurethane, epoxy resin, and ink. This has allowed him to create new forms, nearly all of
段。十五件小型的杰作如珍品般被置于十五个玻璃
which have moved away from what had been his go-to format for decades: the cup. Until now,
立方体中，每个立方体都栖息在基座上方。另外，
Nagle’s sculptures have been vestigial vessels: playful mutations of the age-old format or
四个相似大小的雕塑作品竖立在四个节省空间的小
madcap revisions of its basic features, always one step away from the limits of functionality
格子中，每个小格子都被嵌入一面墙的中间。观众
and often leaping, with both feet, into the mind-bending high jinx of dysfunctionality. Having
会想到宗教中的圣物箱，还有瘾君子用以藏匿毒品
fallen into the background, cups have given way to more diverse formats, including ash trays,
GALLERY MAGAZINE
Similak Child 陶瓷，釉，瓷器，催化聚氨酯和环氧树脂 SIMILAK CHILD 10cm×12cm×7cm ceramic, glaze, porcelain, catalyzed polyurethane, and epoxy resin 2016
Ice Breaker 陶瓷，釉，青铜，催化聚氨酯和环氧树脂 ICE BREAKER 15cm×6cm×15cm ceramic, glaze, bronze, catalyzed polyurethane, and epoxy resin 2016
的暗格。宗教崇拜与非法物品或精神启示与世间“极 乐”的结合，在内格尔那精细又具有颠覆性的作品 中得到绝妙的体现。
Turkish Hairlines 环氧树脂和催化聚氨酯 TURKISH HAIRLINES 16cm×11cm×16cm epoxy resin and catalyzed polyurethane 2016
bookends, bonsai trees, aquariums, jewelry boxes, and keyholes. Risk and possibility are Nagle’s stock in trade. He serves them up in abundance in his smartly installed exhibition, where 15 pint-size masterpieces are enshrined inside 15 glass
作品的展示方式增强了每件雕塑的内容。这种
cubes, each perched atop its own pedestal. Four more similarly scaled sculptures stand in
增效作用对一个观点进行了公然打脸，那就是抽象
four space-saving cubbyholes, each of which has been cut into the middle of each of the four
艺术是与以情欲为代表的动物性冲动无关的高尚行
walls. Religious reliquaries come to mind. So do stashes, where drug-users hide their drugs.
为。在内格尔的 3D 作品中，这两者美妙地融合在一
The combination of religious veneration and illicit substances, or spiritual enlightenment and
起。每件作品都能唤起人们的原始情感，同时又要
surreptitious bliss, takes stunning shape in Nagle’s subtly subversive works.
求观众运用认知系统进行深刻思考。内格尔的作品
The form of their presentation amplifies the content of individual sculptures. That synergy
十分老道，从中可以读到各种故事。许多作品似在
flies in the face of the idea that abstract art is a high-minded affair that has nothing to do with the
描绘景色，过于饱和的颜色、精致而富于质感的表
animal impulses of flesh and blood reality. The two collude beautifully in Nagle’s pieces of 3-D
面以及非自然的流线形态让人想起鉴赏家私人订制
poetry. Each appeals to the lizard brain without overlooking the more sophisticated machinations
的水族箱，自带一种反常理的美；其他作品看上去
of our cognitive machinery. All sorts of stories can be read from Nagle’s seasoned pieces. Many
则像书夹，不过经过彻底而独特的改造，世上再也
resemble landscapes, their super-saturated palettes, exquisitely textured surfaces, and unnaturally
找不到类似的书夹。
streamlined formations recalling aquariums customized by connoisseurs of preposterous beauty.
内格尔最新的作品中，许多都比之前的作品更 具有绘画的特征。比如，面对 Turkish Hairlines 和 Ice Breaker ，你会感觉自己正在看一幅透视画，
Others seem to be bookends that have evolved so radically and idiosyncratically that they no longer have partners that look anything like them. Many of Nagle’s newest works are also more pictorial than anything he has made
内嵌于结构的单点透视加强了这种效果。通过整合
previously. In some, like Turkish Hairlines and Ice Breaker, you get the sense that you are
多种元素，并利用类似错觉艺术的手法使某些元素
looking at a diorama that has been enhanced with a kind of one-point perspective built into its
变得模糊，内格尔延伸了空间，他不仅在作品的小
structure. By lining up various elements, and suggesting that some recede, quasi-illusionistically,
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画廊大视野
EYESHOT OF GALLERIES
展览现场 at the exhibition
尺寸上动手脚，更拉伸了观众的想象力。穿梭于这
Nagle stretches space, both in your imagination and in the modest dimensions with which he
些作品之中，你会感受到它们的灵活性，感受到它
works. To walk around these pieces is to feel their elasticity, the ways they make a mess of logic
们如何打乱逻辑，以更富于情感的方式建立起与时
to make room for more emotionally engaged relationships to time and space.
间和空间的关系。
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Curried Favor and Elusive Combinations do something similar. Their circular openings
Curried Favor 和 Elusive Combinations 也
function both as compositional elements—like dark moons in the night sky—and gaps in the
采用了类似的方式。作品中的圆孔既是一种构造元
space-time continuum, opening, like black holes, onto utter nothingness. That back-and-forth,
素——像悬挂于夜空中的黑月——亦代表时空统一
between presence and absence, pleasure and dread, sensation and the yawning emptiness of
体的缺口，它们像黑洞一样，张开通向虚无的大口。
the void, is at the heart of Nagle’s art. All of his works make the here-and-now matter more
这种穿梭于存在与不存在，快乐与恐惧和感知与虚
because they begin with the wisdom that everything can disappear in an instant. Mortality and its
空之间的感觉正是内格尔艺术的关键。他的所有作
meaning rarely take more powerful shape in contemporary art.
品都使“此时此刻”显得更加重要，因为作品一开
None of Nagle’s sculptures sits still. Each occupies time as if it were a movie still, a thin
始就揭示了任何东西都能瞬间消失的哲理。当代艺
slice of an animated cartoon, a documentary about microorganisms, or a thriller in which
术中，几乎没有人能以更强有力的方式体现出死亡
something tragic has just happened. Or is about to. Or both. Sometimes the drama recalls that
和死亡的意义了。
of a cell dividing in two (Message to Raphael) or a cell having second thoughts about splitting
GALLERY MAGAZINE
French Stickler 陶瓷、釉料、催化聚氨酯和环氧树脂 FRENCH STICKLER 4cm×12cm×12cm ceramic, glaze, catalyzed polyurethane, and epoxy resin 2016
Ghosting 陶瓷、催化聚氨酯、环氧树脂和丙烯酸 GHOSTING 14cm×10cm×10cm ceramic, catalyzed polyurethane, epoxy resin, and acrylic 2016
Sandmandia 陶瓷、釉、催化聚氨酯、环氧树脂、油墨、丙烯酸 SANDMANDIA 10cm×23cm×5cm ceramic, glaze, catalyzed polyurethane, epoxy resin, ink, and acrylic 2016
内格尔的所有雕塑都不是静止不动的。每件雕塑都占据了时间，
(French Stickler). More often, it involves a solitary being venturing,
就像是一个电影画面，一个卡通片镜头，一部关于微生物的纪录片或
cautiously and curiously, into unknown territory (Sandmandia and
者是一部刚发生了悲剧的惊悚片——又或者是悲剧即将发生，又或是
Penniman). Historical Land Mind, Witzelsucht, Cult Classic and
悲剧刚过，但将再次发生。有时候，某些雕塑会让你想起细胞分裂的
Intangible Assets include two components or characters that approach
过 程（Message to Raphael ） 或 细 胞 犹 豫 是 否 要 进 行 分 裂（French
each other, tentatively and gingerly. The sense of anticipation they
Stickler ）。更多的时候，你总是想到一个谨慎又充满好奇心的人冒险
embody tingles the spine and toys with mind. Without stating anything
进入未知领域的故事（Sandmandia 和 Penniman ）。Historical Land
explicitly, these pieces paint a pretty vivid picture of the world today,
Mind 、Witzelsucht 、Cult Classic 和 Intangible Assets 则描绘了两
when questions about how individuals interact with neighbors and
个构件或两个角色犹豫不决又小心翼翼地互相靠近的画面。它们所体
strangers are as loaded as they have been in a long time.
现的那种期待感让你兴奋，让你失去理智。无需任何明确的讲述，这
“Ghosting” is exemplary. To understand this piece you must look
些作品对当今世界进行了生动的描绘，毕竟，个人如何与邻居乃至陌
at it from both sides. More than once. Incrementally, you piece together
生人互动依旧是一个沉重的话题。
your perceptions, gradually discovering that the smoky black plastic
Ghosting 是一个典型的例子。要理解这件作品，你必须从正反两
backdrop is more of a mirror than a translucent membrane. Seeing
面进行观看，且观看不止一次。慢慢拼凑起看法之后，你会逐渐发现，
through to the other side is a mirage, a fiction, a fantasy. Space shrinks as
烟熏黑色的塑料幕布更像一个镜子而不是一张透明的薄膜。透过幕布看
your experience intensifies. All sorts of stories, each laced with its own
到的另一边是海市蜃楼，是虚构，是幻想。随着体验不断加强，空间也
combination of anxiety and delight, spill from Nagle’s small stage set.
跟着收缩。在内格尔布置的小小舞台上，各种糅合了焦虑和快乐的故事
Others, like Don and Juan, Similak Child, Corporal Shunt, Intangible
轮番上演。其他作品，比如 Don and Juan 、Similak Child 、Corporal
Assets, and Oeuvre Removal use cartoon shapes and colors to bring big
Shunt 、Intangible Assets 和 Oeuvre Removal 则利用卡通形状和颜色
existential questions down to earth, where people have been dealing with
将高高在上的存在主义问题带到现实中来；世间的人们思考这些问题
them for centuries, and, hopefully, will continue to do so.
已有数个世纪之久，希望未来有人能继续前人之路。
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封面故事 COVER STORY
位于洛杉矶市中心格兰德大街 (Grand Avenue) 的布洛德美术馆 (The Broad) 于 2015 年 9 月揭开了神秘的面纱，这座由慈善家艾利·布 洛德和艾迪丝·布洛德夫妇 （Eli Broad 和 Edythe Broad）捐资修建 的美术馆为这片拥有诸如洛杉矶当代艺术博物馆、洛杉矶爱乐乐团所在 的华特·迪士尼音乐厅的艺术文化目的地增添又一伟大项目，而布洛德 美术馆还有着更慷慨的一面——免费对公众开放。 这 座 带 有 如 蜂 窝 式 结 构“ 面 罩” 的 建 筑 由 Diller Scofidio + Renfro 建筑事务所设计，轻盈地糅合了展览空间和艺术品储存空间，犹 如半浮于空中的庞大通孔的外立面结构为展览空间提供着柔和的自然光 线。而宏伟“面罩”之下，透出的是布洛德美术馆力图启发、培育我们 时代的艺术欣赏之心。
pened its door to the public in September 2015, The Broad is the new member on Grand Avenue in downtown Los Angeles, one of the foremost destination for art and culture in the world. Dotted with world-class architecture and arts organizations on Grand Avenue, from the likes of Museum of Contemporary Art (MoCA) and Wall Disney Concert Hall that home to the Los Angeles Philharmonic, and The Broad, founded by philanthropists Eli and Edythe Broad, seems to have a greater mind to shape its grand project—offering free general admission. Spanning across a whole block, this airy, honeycomb-like structure designed by Diller Scofidio + Renfro, merges public exhibition space and collection storage with its brilliant “veil-and-vault” concept: a columnfree space with filtered natural daylight serves as the exhibition space, while its exterior of heavy opaque mass is always in view, hovering midway in the building. What it prevails from this magnificent building is the Broad’s mission: to enrich, provoke, inspire and foster appreciation of art of our time.
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GALLERY MAGAZINE
#TheBroad 布洛德美术馆
ILLUMINATION OF THE CONTEMPORARY
点亮艺术之心 策划：李琼波 Planned by Li Qiongbo
撰文：黄子正 Text by Max Wong
The Broad museum on Grand Avenue in downtown Los Angeles photo by Iwan Baan courtesy of The Broad and Diller Scofidio + Renfro
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封面故事 COVER STORY
布洛德美术馆三楼，Robert Therrien 作品 Under the Table Installation of Robert Therrien's Under the Table in The Broad's third-floor galleries; photo by Elizabeth Daniels, courtesy of The Broad and Diller Scofidio + Renfro
布洛德美术馆储存仓库，展示着 Paul Pfeiffer 的作品 The Broad's "cool storage" room showing a work by Paul Pfeiffer; photo by Iwan Baan, courtesy of The Broad and Diller Scofidio + Renfro
布洛德美术馆三楼，Barbara Kruger、Cindy Sherman、Richard Prince 以及 Sherrie Levine 的作品 Installation of works by Barbara Kruger, Cindy Sherman, Richard Prince and Sherrie Levine in The Broad's third-floor galleries; photo by Iwan Baan, courtesy of The Broad and DIller Scofidio + Renfro
布洛德美术馆三楼的天窗和室内景 The Broad museum's third-floor galleries with skylights and interior veil; photo by Iwan Baan, courtesy of The Broad and Diller Scofidio + Renfro
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GALLERY MAGAZINE
资料来源：The Broad
布洛德美术馆大厅和手扶电梯处 The Broad museum's lobby with escalator; photo by Hufton + Crow, courtesy of The Broad and Diller Scofidio + Renfro
“面罩与穹窿”建筑设计概念糅合了美 术馆的展览空间和布洛德艺术基金会 (The Broad Art Foundation) 租借项目的艺术品 储存空间。“穹窿”设计贯穿整个游览体验。 进入美术馆大厅后，游客将乘坐自动扶梯 穿过二楼的混凝土穹顶，到达三楼的美术 馆展览层。该美术馆天花板高 23 英尺，自 然光可以透过天窗散射进来。游客离开时 可通过旋转楼梯窥见艺术藏品。
Dubbed “the veil and the vault,” the museum’s design merges the two key programs of the building: public exhibition space and the storage that supports The Broad Art Foundation’s extensive lending activities. “The vault” plays a key role in shaping the museum experience from entry to exit. Its carved underside shapes the lobby below and public circulation routes. Its top surface is the floor of the third-floor galleries. The public is then drawn upwards
布洛德美术馆大厅及内部 The Broad museum's lobby with interior veil; photo by Iwan Baan, courtesy of The Broad and Diller Scofidio + Renfro
via escalator, tunneling through the vault, arriving onto nearly an acre of columnfree gallery space bathed in filtered light. The gallery has 23-foot-high ceilings, and the roof is supported by 7-foot-deep steel girders. Visitors exit the third floor via a winding central stair through the vault that offers glimpses into the vast holdings of the collection.
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封面故事 COVER STORY
FOUNDING DIRECTOR OF THE BROAD
美术馆创始总监
对话乔安妮·海勒 INTERVIEW WITH JOANNE HEYLER 乔安妮·海勒，美术馆创始总监 Founding Director of The Broad museum, Joanne Heyler, in the museum's lobby; photo by Adrian Gaut, courtesy of The Broad
乔安妮·海勒（ H = Heyler ） 《画廊》（G = Gallery ）
《画廊》：你是怎样成为布洛德美术馆创立总监呢？
你不会在画廊内部发现过于明显的技术痕迹，但你会
海勒：我一直担任领导角色，策划和帮助筹划布洛德
注意到参观体验的一些差异，这是由大量技术支持的。
美术馆的艺术藏品，至今已超过 20 年了。对于策展人
例如，我们的票务主要透过线上购买；我们的一些工
《画廊》：在美术馆里有发生特别难忘的事情可以和
来说，这是一件罕见的事情，在这么长的时间里留在
作人员在现场会使用手持设备，这能够避免访客过于
我们分享吗？
一个组织内，或者一群人中，但艾利·布洛德和艾迪
聚集在大堂和画廊的咨询柜台、标识或资料展示架旁。
海勒：我的工作最好的部分是，经常有美术馆的访客
丝·布洛德夫妇都拥有独特且有野心的处理事情手法。
我们美术馆画廊的工作人员都通过一个定制的数字学
告诉我他们看到艺术品和建筑给他们带来快乐。布洛
自 20 世纪 90 年代以来，我的角色以及他们的远大目
习系统，所以所有工作人员都可以为我们的访客提供
德启发了人们对艺术的激情，而且是数以千计可能不
标已迅速演变。 2010 年我们就开始密集策划在洛杉矶
关于艺术藏品和美术馆的深入且到位的资讯。当然，
认为他们可以欣赏当代艺术的人，但他们发现并喜欢
市中心开设美术馆的一年，以容纳布洛德的收藏，当
我们也活跃于各大社交媒体上，但我们最多的线上内
我们的美术馆。
时需要学习的事情很多，而且还有许多意想不到的障
容来自于我们访客发布的自拍照以及标记我们的照片。
碍，但是艾利、利兹·迪勒（建筑设计师）和我及我
我们美术馆还有一个非常漂亮的 APP 应用程式，使用
《画廊》：我们留意到《草间弥生 : 无限镜屋》特别
们信赖的团队一同努力创造了一个超越我们的所有期
起来很方便且资讯充足。我们很自豪，布洛德美术馆
展览将在布洛德美术馆开展，你对这种变为文化事件
望的美术馆。
最近被列为世界前五大最多人在 Instagram 上发图的
的大型展览有什么期待？
博物馆之一，名单包括巴黎的卢浮宫，纽约的大都会
海勒：我期待着为我们的访客带来更深入的体验和对
博物馆和其他久负盛名的博物馆。
艺术家的深度认识，他们可能已经略知一点，但是渴
《画廊》：布洛德美术馆是如何定位的？ 海勒：当代艺术一直是布洛德美术馆的核心使命，使
两种愿景是一个挑战。
望看更多草间弥生的作品。也许他们已经看到了我们
当代艺术提供给最广泛的受众。为此，我们美术馆是
《画廊》：作为美术馆馆长兼主策展人，你认为担任
从开放以来的视野中的无限镜像房间？或许他们已经
免费开放的；透过我们的无障碍和包容的参观体验；
此职最具挑战性的是什么？
看过“无限镜屋”，因为我们自开馆以来一直在展览，
还有我们透过以启发多于解释的教导方式。
海勒：时间总是我面临的最大的限制，但除此之外，
也许他们想参观但还没有机会来。这个展览设有几个
担任策展人和馆长可能有时是棘手的，因为策展人的
“无限镜屋”，将扩展大家对草间弥生的无尽概念痴
《画廊》：在数字时代下你有特定的方案应对这一潮
追求和方向都专注于艺术和展览，而作为馆长我总是
迷的理解。
流吗？
在衡量我所做的决定的影响，并预测这些决定将如何
海勒：相比其他美术馆，我们的数字技术都应用于幕后。
在更广泛的层面上影响美术馆。切换观点，同时维护
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GALLERY MAGAZINE
#Director
G: How did you find yourself and became the founding director of The Broad museum? H: I’ve been in the leading role, curating and help to shape The Broad Collection now for over 20 years. It’s a rare thing for a curator to stay with an organization — or in this case individuals — for such a significant amount of time, but Eli and Edythe have a particularly unique and ambitious way of approaching things. Since the 1990s, my role - and their larger goals - have quite rapidly evolved. 2010 was the year we began the intensive planning to open a museum in downtown Los Angeles to house the Broads’ collection: the learning curve was steep and there were many
G: As museum director and chief curator, what do you think is
unexpected hurdles, but Eli, Liz Diller, and I along with our trusted
the most challenging part of the job?
teams worked together through it all and created a museum that has
H: Time is always the biggest constraint that I face, but apart from
exceeded all of our expectations.
that, acting as both curator and director can be tricky at times because the ambition and direction of a curator focuses on the
G: How does The Broad position itself in the museum world?
art and the exhibition alone, however as a director I am always
H: It has always been the core mission of the Broads’, when it
weighing the impact of my decisions and anticipating how they will
comes to art, to make contemporary art available to the widest
affect the museum on a broader level. Switching perspectives—
possible audience. At the museum, we do this through our free
maintaining both visions at once—is a challenge.
general admission; through our visitor experience, which is one of accessibility and inclusion; and through our didactics which aim to
G: Was there any particular story happen in the museum that
illuminate rather than explain.
you could share with us? H: The very best thing about my job is that I regularly have
G: In the digital age, do you have plan specially cater to this
visitors to the museum tell me that visiting our collection and
trend?
building brings them joy. The Broad has inspired passion for art
H: Compared to other museums, our use of digital technology
among literally thousands of people who maybe did not think they
is behind the scenes. You won’t find a lot of obvious technology
could appreciate contemporary art, but find that they love it at our
visible in the galleries, but you will notice a difference in our
museum.
visitor experience, and that is made possible by extensive technical support. For example, our ticketing is primarily online, and some
G: We notice that Yayoi Kusama: Infinity Mirrors is the
of our staff on site use hand-held devices, which allows us to avoid
upcoming exhibition in 2017, what do you look forward to on
cluttering the lobby and galleries with desks, signs and racks. Our
this kind of large-scale exhibition that evolved into a cultural
staff in the galleries all go through a custom digital learning system
phenomenon?
so all staff can provide our visitors with great, in-depth information
H: I’m looking forward to giving our visitors a more in depth
about the collection and the museum. We also of course have active
experience and knowledge of an artist who they might already
profiles on many big social media outlets but our biggest generator
know a little bit about, but who are hungry for more exposure
of digital content is our visitors who post selfies and tag us in their
to Kusama’s work. Perhaps they’ve seen the Infinity Mirrored
images. We also have a fantastic museum app which is easy to
Room we’ve had on view since we opened. Or better yet, maybe
navigate and very informative. We are proud that The Broad was
they’ve wanted to see it and haven’t had the opportunity yet. This
recently listed as one of the top 5 most Instagrammed museums in
show features a few Infinity Room installations that will expand a
the world, along with the Louvre in Paris, the Metropolitan Museum
visitors understanding of Kusama’s longstanding obsession with the
in New York and other prestigious and established museums.
concept of infinity.
GALLERY MAGAZINE
31
封面故事 COVER STORY
ELI BROAD:
布洛德的传奇人生 THE ART OF BEING UNREASONABLE 资料来源： Materials from thebraod.org
布洛德美术馆及布洛德基金会创办人：埃利·布洛德和艾迪丝·布洛德夫妇 Co-founders of The Broad museum, Eli and Edythe Broad, in the third-floor galleries; photo by Elizabeth Daniels, courtesy of The Broad
Eli and Edythe Broad are lifelong
over 200 artists. Since 1984, The
philanthropists. Their generosity across
Broad Art Foundation has operated an
the areas of education reform, scientific
active “lending library” of its extensive
and medical research, the arts, and civic
collection. Dedicated to increasing
endeavors in their hometown of Los
access to contemporary art for audiences
Angeles has been enabled by Eli Broad’s
worldwide, The Broad Art Foundation
five-decade career in business, building
has provided over 500 museums and
two Fortune 500 companies from the
university galleries worldwide with more
ground up. He is the founder of both
than 8,000 loans of artwork.
SunAmerica Inc. and KB Home (formerly Kaufman and Broad Home Corporation).
Mr. Broad was the founding chairman and is a life trustee of The Museum of
埃利·布洛德和艾迪丝·布洛德夫
Eli and Edythe Broad Foundation）
Today, the Broads are devoted to
Contemporary Art in Los Angeles, to
妇（Eli and Edythe Broad）做了一辈
和 布 洛 德 艺 术 基 金 会（The Broad Art
philanthropy as founders of The Broad
which The Broad Foundation gave a $30
子的慈善家。埃利·布洛德白手起家，
Foundation）。
Foundations, which they established to
million challenge grant in December 2008
通过 50 年的汲汲经营，创办了两家世界
40 年来，布洛德夫妇建成了二战以
advance entrepreneurship for the public
to rebuild the museum’s endowment and
500 强企业——SunAmerica 和 KB Home（即
来全球最声名显赫的当代艺术收藏馆：布
good in education, science and the arts.
to provide exhibition support. He is a life
此前的 Kaufman and Broad Home 公司）。
洛德夫妇收藏馆 （The Eli and Edythe L.
The Broad Foundations, which include
trustee of The Museum of Modern Art in
在成功的事业基础上，布洛德夫妇对促
Broad Collection）和布洛德艺术基金
The Eli and Edythe Broad Foundation and
New York and of the Los Angeles County
进家乡洛杉矶的教育改革、科技医学研
会（The Broad Art Foundation）。 收
The Broad Art Foundation, have assets of
Museum of Art, where the Broads made
究、艺术发展和公民福祉等方面进行了
藏品囊括了 200 多名艺术家的 2000 多件
$2.6 billion.
a $60 million gift to build the Renzo
慷慨捐助。
作品。自 1984 年起，布洛德艺术基金会
Over the past four decades, the
Piano-designed Broad Contemporary Art
一直积极地从事大批展品出借工作，为
Broads have built two of the most
Museum, which opened in February 2008,
（The Broad Foundations）创办者的名
了让全球观众得到更多接触展品的机会，
prominent collections of postwar and
and to fund an art acquisition budget. In
义做慈善，该基金会旨于促进教育、科
该基金会向世界上的 500 多家艺术馆和
contemporary art worldwide: The Eli
August 2010, the Broads announced plans
学和艺术领域的公益事业。布洛德基金
大学画廊出借了超过 8000 件展品。
and Edythe L. Broad Collection and The
to build The Broad, a contemporary art
如今，布洛德夫妇以布洛德基金会
会 的 资 产 达 到 26 亿 美 元， 旗 下 包 含 埃
埃利·布洛德是美国洛杉矶当代美术
Broad Art Foundation. The collection
museum and headquarters for The Broad
利·布洛德和艾迪丝·布洛德基金会（The
馆（ The Museum of Contemporary Art
includes more than 2,000 works by
Art Foundation on Grand Avenue in
32
GALLERY MAGAZINE
downtown Los Angeles.
National Order of the Legion of Honor by
in Los Angeles）的创始人和终身理事，
和美国总统的任命，布洛德出任美国史
在 2008 年 12 月，布洛德基金会给该馆
密森学会董事会董事。他也是美国人文
Tireless advocates of Los Angeles,
the Republic of France. Mr. Broad serves
发放了 3000 万美元的补助，以充实捐资
与科学院的会员之一以及未来一代艺术
the Broads have championed the cultural
on the board of the Future Generation Art
并支持设展。他同时也是纽约现代艺术
奖 (The Future Generation Art Prize)
and architectural vitality of the city.
Prize. He received the Carnegie Medal
博物馆（The Museum of Modern Art in
董事会的一员。1994 年，他被授予法兰
Committed to the belief that all great
of Philanthropy in 2007 and the David
New York） 和 洛 杉 矶 艺 术 博 物 馆（Los
西共和国荣誉勋章；2007 年，获得卡内
cities need a vibrant center, Mr. Broad
Rockefeller Award from the Museum
Angeles County Museum of Art） 的 终
基慈善奖；2009 年 3 月，他获现代艺术
was the visionary behind the development
of Modern Art in March 2009. Strong
身理事，布洛德基金会斥资 6000 亿美元
博物馆 (The Museum of Modern Art) 颁
of Grand Avenue, which will blend
believers in higher education, the Broads
在此修建了由意大利当代著名建筑师伦
发的大卫 • 洛克菲勒奖。作为高等教育
residential, retail, cultural and recreational
have further extended their philanthropy
佐·皮亚诺（Renzo Piano）设计的布洛
的忠实信仰者，布洛德夫妇进一步加大
uses into a civic centerpiece to rival the
in the arts. The Broad Foundation made
德当代艺术馆，并投资了一项艺术收购
在慈善事业的支持力度。布洛德基金会
main boulevards of the world’s greatest
a major contribution to the School of
项目。2010 年 8 月，布洛德夫妇宣布将
曾向加州大学洛杉矶分校艺术和建筑学
cities. In 1996, Mr. Broad and then-
the Arts and Architecture at UCLA for
建成布洛德现代艺术馆，它也将成为位
院大笔捐资，以筹建由顶尖建筑师理查
Mayor Richard Riordan spearheaded the
The Eli and Edythe Broad Art Center,
于洛杉矶市区格兰德大道的布洛德艺术
德·迈耶（Richard Meier）负责设计的
fundraising campaign to build the Frank
designed by Richard Meier. In 1991, the
基金会总部。
埃利·布洛德和艾迪丝·布洛德艺术中
Gehry-designed Walt Disney Concert
Broads endowed The Eli Broad College
布洛德夫妇孜孜不倦地致力于洛杉
心。1991 年，基金会向埃利·布洛德的
Hall, which opened to worldwide acclaim
of Business and The Eli Broad Graduate
矶城的公益事业，捍卫着这座城市的文
母校密歇根州立大学作出捐赠，埃利曾
in October 2003. The Broads provided
School of Management at Michigan
化和建筑生命力。他们坚信，一座伟大
于 1954 年以优等生成绩在此学成毕业。
the lead gift to the Los Angeles Opera
State University (MSU), where Mr.
的城市需要活跃的中心，如今格兰德大
2007 年 6 月，基金会宣布捐赠 2600 亿美
to create a new production of Richard
Broad graduated cum laude in 1954. In
道的繁华背后，是埃利·布洛德的远见
元，创建密歇根州立大学埃利·布洛德
Wagner’s four-opera cycle Der Ring des
June 2007, the Broads announced a $26
卓识，促成了一个融商住、文化、娱乐
和艾迪丝·布洛德艺术馆；2010 年 1 月，
Nibelungen in 2009-2010. They gave $10
million gift to create the Eli and Edythe
于一体的市民中心，媲美其他国际大都
又额外捐出 200 万美元用于资助馆内项
million in 2008 to create an endowment
Broad Art Museum at MSU, and they
市的主要干道。1996 年，布洛德和时任
目。扎埃利·布洛德和艾迪丝·布洛德
for programming and arts education at
gave another $2 million to the project in
纽 约 市 长 的 理 查 德· 里 奥 丹（Richard
艺术馆由建筑师扎哈·哈迪德设计，于
The Eli and Edythe Broad Stage and The
January 2010. The Zaha Hadid-designed
Riordan）为华特·迪士尼音乐厅 (Walt
2012 年 11 月正式开馆。
Edye Second Space at the Santa Monica
museum opened in November 2012.
College performing arts center.
Mr. Broad's first book, The Art
Disney Concert Hall) 的筹款活动打前
2012 年 5 月，埃利·布洛德出版第
锋，该音乐厅由著名建设师弗兰克·盖
一本著作《亿万富翁的非常思考术——
From 2004 to 2009, Mr. Broad served
of Being Unreasonable: Lessons in
里（Frank Gehry） 设 计， 于 2003 年 10
商业奇才布洛德的传奇人生》（The Art
as a Regent of the Smithsonian Institution
Unconventional Thinking, was published
月正式迎向世界。2019 年至 2010 年，布
of Being Unreasonable: Lessons in
by appointment of the U.S. Congress
by Wiley in May 2012 and is a New York
洛德夫妇为洛杉矶歌剧院献上首礼——
Unconventional Thinking），迅速登上
and the President. He is a Fellow of the
Times, Wall Street Journal, USA Today,
理查德·瓦格纳四大歌剧全集《尼伯龙
《纽约时报》《华尔街日报》《今日美国》
American Academy of Arts and Sciences
and Washington Post bestseller.
根 的 指 环》 的 全 新 制 作。2008 年， 他
以及《华盛顿邮报》等知名媒体的热销
and in 1994 was named Chevalier in the
们为埃利·布洛德和艾迪丝·布洛德基
书榜单。
金会剧院（The Eli and Edythe Broad Stage） 和 位 于 圣 莫 尼 卡 学 院（Santa Monica College ）表演艺术中心的艾迪 第二空间（The Edye Second Space）捐 赠了 1000 万美元。 2004 年至 2009 年期间，受美国议会
#EliBroad GALLERY MAGAZINE
33
封面故事 COVER STORY
#TheBroadCollection #AtoZ 资料来源：布洛德美术馆 Materials from The Broad
布洛德美术馆现在藏有包括
Now including two thousand artworks
超过两千位艺术家的两千余件作
by more than two hundred artists, the Broad
品，这些藏品是与艺术和艺术家
collection is the result of a sustained and
持续且紧密接触的成果，它们反
intensive engagement with art and artists, and
映了 20 世纪中叶以来形成的许
reflects many of the forces and ideas that have
多艺术力量和观念。布洛德博物
shaped art since the mid-twentieth century. The
馆全面而广泛地收藏了包括美国
sweeping breadth of the Broad collection includes
战 后 艺 术、 大 部 分 上 个 世 纪 60
icons of American postwar art, mainly 1960s
年代波普艺术、20 世纪 80 年代
pop, key works of the 1980s New York art scene,
纽约艺术界的关键作品、20 世纪
important works of the 1990s, and artworks made
90 年代的重要作品乃至去年创作
as recently as last year. The collection is marked
的作品。它们的特色包括社会和
by a strong current of socially and politically
政治主题艺术的强烈潮流、注重
themed art, a major focus on figuration, a critique
外形、批判媒体饱和文化以及对
of media-saturated culture, as well as an interest
德国当代艺术感兴趣。
in contemporary German art.
Installation of works by Robert Rauschenberg, Andy Warhol and Ed Ruscha in The Broad's third-floor galleries; photo by Bruce Damonte, courtesy of The Broad and Diller Scofidio + Renfro
34
GALLERY MAGAZINE
John Ahearn 约翰·埃亨 Jean‐Michel Basquiat 让 - 米切尔·巴斯奎特 Alexander Calder 亚历山大·考尔德 Philip‐Lorca diCorcia 菲利浦 - 洛卡·迪柯西亚 Christian Eckart 克里斯汀·埃卡特 Sam Francis 山姆·弗朗西斯 Mark Grotjahn 马克·格罗蒂扬 Damien Hirst 达米恩·赫斯特 Alex Israel 亚历克斯·伊斯雷尔 Jasper Johns 贾斯培·琼斯 Ellsworth Kelly 埃尔斯沃斯·凯利 Anselm Kiefer 安塞姆·基弗 Roy Lichtenstein 罗伊·利希滕斯坦 Takashi Murakami 村上隆 Shirin Neshat 施林·奈沙 Tony Oursler 托尼·奥斯勒 Lari Pittman 拉里·皮特曼 Robert Rauschenberg 罗伯特·劳森伯格 Sean Scully 肖恩·斯库利 Cy Twombly 赛·托姆布雷 Meyer Vaisman 迈耶·魏斯曼 Andy Warhol 安迪·沃霍尔
GALLERY MAGAZINE
35
封面故事 COVER STORY
HOMAGE TO THE PEOPLE OF THE BRONX: DOUBLE DUTCH AT KELLY STREET - LA FREEDA, JEVETTE, TOWANA, STAICE oil on fiberglass 137.16cm×391.16cm×30.48cm 1981-1982
AHEARN
John
THOMAS oil on reinforced polyadam 116.84cm×73.66cm×17.78cm 1986
众 也 能 接 触 到 艺 术。 在 雕 塑 家 里 戈 韦 托· 托 雷 斯
to find alternatives to the gallery scene and make art
（Rigoberto Torres）的协助下，埃亨在工作室外面
more accessible to the public. With the assistance
的人行道上创作实体模型，使艺术作品真正地出自于
of Rigoberto Torres, Ahearn produces the casts on
社区。从衣着类型到姿势态度，完成的作品捕捉了模
the sidewalk outside his studio, allowing the work
特们的具体特点。浓厚的现实主义意味是埃亨艺术作
to emerge authentically from the community. The
品的优势，但同时，这也是评论家们争论的焦点。他
finished pieces capture the specific attributes of the
的作品经常被描述成充满希望、坦率和谦逊，总是引
models, from the types of clothing they wear to the
作为一名居于纽约布朗克斯区的艺术家，约翰·埃
起不同的情感和政治反应，更经常成为抗议的根源。
attitudes of their poses. The realism of Ahearn’s work
亨（John Ahearn） 从 事 于 创 造 社 区 人 们 的 实 体 模
New York–based artist John Ahearn creates life
is a strength as well as a point of contention by critics.
型。1970 年代末，涉足艺术界的埃亨加入汤姆·奥
casts of people in his Bronx neighborhood. In the
Often described as hopeful, honest, and unpretentious,
图 尼 斯（Tom Otterness） 和 詹 妮· 霍 尔 泽（Jenny
late 1970s, early in his career, Ahearn joined artists
his works have also stirred a wide range of emotional
Holzer）等艺术家，致力于改变画廊的环境，让公
like Tom Otterness and Jenny Holzer in setting out
and political responses and been cause for protest.
约翰·埃亨
36
RAYMOND AND TOBY oil on fiberglass 119.38cm×109.22cm×99.06cm 1989
GALLERY MAGAZINE
B ASQUIAT
Jean-Michel
让 - 米切尔·巴斯奎特 Born in Brooklyn to middle-class Haitian and Puerto Rican parents, Basquiat left home as a teenager to live in lower Manhattan, playing in a noise band, painting, and supporting himself with odd jobs. Around 1980, Basquiat’s work began to HORN PLAYERS acrylic and oilstick on three canvas panels mounted on wood supports 243.8cm×190.5cm 1983
DEAF acrylic and oilstick on canvas 167.64cm×152.4cm 1984
attract attention from the art world, particularly after a group of artists from the punk and graffiti underground held the Times Square Show in an abandoned massage parlor. A wall
巴斯奎特出生于布鲁克林一个中产阶级家庭，
作自画像的一种形式。在这幅画中，人物的头骨
父母分别是海地和波多黎各移民。还是青少年时，
介于生与死之间，眼神无精打采，脸部凹陷，头
巴斯奎特便离家搬到下曼哈顿区，加入一个噪音
部看起来十分迟钝和无力。然而，鲜艳的色彩和
乐队、画画，并打零工养活自己。1980 年左右，
充满朝气的符号暗示了人物丰富的内心活动。在
巴斯奎特的作品开始引起艺术界的注意，尤其是
这件早期作品中，正在发展个人肖像画风格的巴
与一群庞克和涂鸦艺术家在一个废弃的按摩院举
斯奎特暗喻现代主义对非洲面具的借用，将面具
办“时代广场展”（Times Square Show）之后。
用作探索身份的一种手段。巴斯奎特为这件作品
以“SAMO”为名（巴斯奎特涂鸦时所用的艺名）
耗尽心思，花了数个月的时间，从画作的表面和
的喷漆和涂刷墙画受到媒体界的好评，巴斯奎特
意象可见一斑。相比之下，他的大多数作品都在
在出租屋内创作的作品开始走俏。
数天内一气呵成。《无题》在巴斯奎特首场纽约
巴斯奎特的许多画作在某种程度上都有自传 的痕迹，《无题》（Untitled）更是被许多人看
个展中展出，作品的强度或许还代表巴斯奎特对 于成为一名成功的艺术家而感到的压力和焦虑。
covered with the spray paint and brushwork of SAMO received favorable notices in the press and Basquiat started selling his paintings out of his tenement apartment. M a n y o f B a s q u i a t ’s p a i n t i n g s a r e i n s o m e w a y autobiographical and Untitled is largely considered a form of self-portraiture. The skull here exists somewhere between life and death. The eyes are listless, the face is sunken in, and the head looks lobotomized and subdued. Yet, there are wild colors and spirited marks that suggest a surfeit of internal activity. Developing his own personal iconography, in this early work, Basquiat both alludes to modernist appropriation of African masks and employs the mask as a means of exploring identity. Basquiat labored over this painting for months—evident in the worked surface and imagery—while most of his pieces were completed with bursts of energy over a few days. Presented at his debut solo gallery exhibition in New York City, the intensity of the painting may also represent Basquiat’s anxieties surrounding the pressures of becoming a commercially successful artist.
GALLERY MAGAZINE
37
封面故事 COVER STORY
NEW YORK Ektacolor print mounted to four-ply board paper 76.2cm×101.6cm 1996
THE BRASS GONG painted sheet metal and rod with brass disc 46.99cm×188.6cm 1948
CALDER
Alexander
亚历山大·考尔德
菲利浦 - 洛卡·迪柯西亚是当
poised between documentary and
态雕塑的发明者而闻名。动态雕塑是一种移动雕塑，
今最具影响力和最创新的摄影师之
theatrically staged photography. His
以保持微妙平衡或悬浮的形状制成，会对触摸或气
一，他擅长于创造介于纪实和戏剧
practice takes everyday occurrences
流做出移动反应。考尔德的固定雕塑也非常杰出，
化舞台式摄影之间的图片。他让日
beyond the realm of banality,
被称为静态雕塑。考尔德还创作人物线雕，这种雕
常之事脱离平庸的领域，为微不足
infusing what would otherwise
塑形式就像三维画作，最著名的是考尔德表演的一
道的姿势注入心理和情感。迪柯西
appear to be insignificant gestures
件小型马戏团作品。
亚将摄影用作可以从看似简单的构
with psychology and emotion.
图中创造离奇、复杂现实的一个虚
DiCorcia employs photography
拟媒介。就这一点而言，他的作品
as a fictive medium capable of
基于现实和虚拟之间，邀请观众去
creating uncanny, complex realities
质疑摄影图像所呈现的假定真理。
out of seemingly straightforward
known as the originator of the mobile, a type of moving sculpture made with delicately balanced or suspended shapes that move in response to touch or air currents. Calder’s monumental stationary sculptures are called stabiles. He also produced wire figures, which are like drawings made in space, and notably a miniature circus work that was performed by the artist.
GALLERY MAGAZINE
菲利浦 - 洛卡·迪柯西亚
亚历山大·考尔德是一名美国雕塑家，作为动
Alexander Calder was an American sculptor
38
DICORCIA
Philip-Lorca
compositions. As such, his work is One of the most influential and
based on the dichotomy between
innovative photographers working
fact and fiction and asks the viewer
today, Philip-Lorca diCorcia is
to question the assumed truths that
known for creating images that are
the photographic image offers.
E
Christian CKART 克里斯汀·埃卡特
自 1980 年
that supports the glass panels in the St. Mike’s work.
代在纽约崭露
Translucent colours and hard support exist in delicate
头 角 之 后， 埃
equilibrium. No two triangles are identical; there is no
卡特的画作便
repeating pattern. It’s clear how this bodywork of complex
表达了与雕塑
angles and brackets holds the glass panels, yet, at the same
的对话。30 年
time, the colour soars free.
后， 他 不 再 是
Though calibrated to specific buildings, Eckart’s
简单的画家或雕塑家，而是成为一名“元艺术家”，其材
works also deliver the pleasures of connection with
料主张一再引起我们的思考和感受。
the international art world. For those familiar with
公共场所的艺术应该能引起广泛观众的共鸣。埃卡特
the recent history of art, the pieces are replete with
的装置艺术独具美感，其反光透明特质、精制而活泼的色
carefully considered affinities. Eckart has spelled out the
板和几何韵律可以满足路人的审美，也经得起抽象绘画和
associations.
雕塑行家的鉴赏。若许多人慕名而来，期望看到的是艺 术家的技巧展示，那么，埃卡特的作品也不会令人失望。 近距离观察埃卡特的作品，你将很快欣赏到其与众不同的 细节，比如，支撑圣迈克尔作品中玻璃嵌板的铝线电枢那 独一无二的设计品质，透明颜色与硬性支撑保持着微妙 的平衡，没有两个三角形是相同的，图案也没有重复的。 观众可以明显看到，由复杂角状物和托架组成的铝线电枢 是如何支撑玻璃嵌板的同时，任颜色自由翱翔。 虽说埃卡特的作品总是根据特定建筑作调整，但它们 也传达了与国际艺术界产生联系的趣味性。熟悉近代艺术 史的观众会发现，埃卡特的作品与国际艺术存在诸多精细 的联系。埃卡特将这些联系清楚地呈现出来。
Eckart’s paintings have articulated a dialogue with sculpture since he came to prominence in New York in the 1980s. Thirty years later, he isn’t so much a painter or a sculptor as a meta-artist whose material propositions make us think and feel. Art in publicly accessible places should be effective for a broad range of viewers. The beauty of Eckart’s installation—its reflective and translucent qualities, its vibrant yet finely tuned palette, its geometrical rhythms— can satisfy the casual passerby as well as the connoisseur of abstract painting and sculpture. If it remains the case that many people come to art expecting to see a demonstration of skill and authorship, his work again makes good. By examining an Eckart piece up-close, one can readily appreciate its distinctive details: for example, the unique design qualities of the aluminum armature SACRA CONVERSAZIONE #T-1403 hand rubbed acrylic-urethane lacquer on aluminum plate 251.46cm×167.64cm 1991 GALLERY MAGAZINE
39
封面故事 COVER STORY
山姆·弗朗西斯于 1950 年代初期从加州湾区 搬到巴黎，他之所以来到这个古老的欧洲城市， 一方面是因为他流浪成癖，一方面是出于发展绘 画风格的需求。虽然弗朗西斯总是无法讲清楚为 何来到巴黎，但此次搬迁的影响却很明显，在绘 画方面的进步使弗朗西斯的创作从美国东海岸抽 象表现主义画家的作品中脱颖而出。在巴黎，弗 朗西斯受到克劳德·莫奈（Claude Monet）的睡 莲和皮埃尔·博纳尔（Pierre Bonnard）的风吹 落叶和户外餐桌所启发，1950 年代中期，这些影 响以一种动态的方式进入他的作品。他将许多印 象派画家的兴趣以当代艺术语汇表达出来，意图 通过色彩斑斓的油画来捕捉光线变化那转瞬即逝 的美妙。 弗朗西斯的画作通常被描述成具有朦胧美， 能根据天气和温度的变化唤起不同的情感。弗朗
F
Sam RANCIS 山姆·弗朗西斯
西斯说起巴黎和加州湾区天空的相似之处，我们 BIG ORANGE oil on canvas 300.36cm×193.04cm 1954-1955
可以借助艺术家 1954 年至 1955 年间创作的 Big
of the interests of the Impressionists into a
Orange 来想象行云、水光，甚至是朝三藩市湾区
contemporary vocabulary, aiming to capture the
徐徐扩散的浓雾。然而，弗朗西斯的 Big Orange
fleeting wonder of everyday light and movement
中，最独特的是沿着紧实橙色表面所描画的互相
through a patchwork of pigment.
交叠的黑白边缘。随着弗朗西斯越来越关注实与
Francis’s paintings are often described as
虚、边界与领域之间的不同，他对边缘的试验和
atmospheric, able to conjure an array of emotions
将色彩圈围起来的实践持续了数十年。随着艺术
according to changing conditions of weather and
生涯不断发展，弗朗西斯的技巧也愈发精湛和成
temperature. Francis spoke of the similarities
熟，完美地将自然美和绘画效果的柔美一面结合
between the sky of Paris and the Bay Area, and
起来。
it is helpful in viewing Big Orange, 1954–55, to think of moving clouds or the shimmering
BLUE AND YELLOW oil on canvas 194.95cm×129.54cm 1954-1955
40
GALLERY MAGAZINE
Sam Francis moved to Paris from the
surface of water, perhaps even a thick Pacific fog
California Bay Area in the early 1950s, drawn
rolling into San Francisco Bay. What is unique
to the old European city out of a sense of
to Big Orange in the development of Francis’s
wanderlust and a need to develop his painting.
work, however, is the presence of overlapping
Although Francis often had trouble articulating
black and white borders of paint surrounding the
why he made the move, the impact was
impacted surface of orange. His experiments with
immediately clear: advances in his painting came
borders and the containment of washes of color
to distinguish his work from the efforts of the
would inform his work for decades, as he became
Abstract Expressionists on the East Coast of the
increasingly concerned with the differences
United States. Francis was inspired by Paris, by
between solids and voids, boundaries and fields.
Claude Monet’s water lilies and Pierre Bonnard’s
As Francis’s career progressed, the synthesis of
windblown leaves and outdoor tabletops, and
the softer sides of natural beauty and painterly
those influences entered his work in the mid-
effects continued to develop in technique and
1950s in a dynamic way. He transmuted many
sophistication.
UNTITLED (DARK INDIGO BLUE RUB MASK M11.H) painted bronze 76.2cm×44.77cm×34.29cm 2011
GROTJAHN
Mark
马克·格罗蒂扬
UNTITLED (DANCING BLACK BUTTERFLIES) color pencil on paper in nine parts variable, 9 parts from 65 3/4 x 47 3/4 inches to 72 x 48 inches 2007
Mark Grotjahn’s painting and drawing recall various origins of image making. He mixes the ordered world of the Renaissance with modernist moments that question that order; he shows the transformation of abstract systems into figuration and vice versa; and he allows certain optic tendencies to surface and then quickly undermines them. Typically, Grotjahn uses a set structure
马克·格罗蒂扬的绘画让人回想起图像制作的各种来源。
(often several vanishing points) from which improvisations
他将文艺复兴的有序世界与现代主义世界混合，以此质疑文艺
and modifications emerge. Strict pinwheel fields of color, for
复兴时代那种秩序；他将抽象系统的变换引入具象艺术中，反
instance, pull apart and transform from work to work, sometimes
之亦然；他让某些光学趋势出现，但很快又对它们进行暗中破坏。
morphing into butterfly wings or masks, globs of paint or thin
一般来说，格罗蒂扬会使用一个集合结构（通常是数个消失点），
washes of color.
各种即兴创作和变动便出自这个结构。比如，一系列色彩斑斓
Grotjahn’s variations expand indefinitely while never
的作品可根据需求而分开或并置变换成不同图案，包括蝴蝶翅
completely pulling away from a system, which allows many
膀、口罩、油漆团和薄薄的涂漆。
visions of representation and abstraction to coexist. Untitled
格罗蒂扬创作的图案虽令人捉摸不定，却从不脱离某个系
(Butterfly with Eyes CB and SL 768) recontextualizes
统，这让许多表现和抽象化想象得以共存。《无题（Butterfly
perspective, confronts traditions of op art (which place vision
with Eyes CB and SL 768）》再次将想象语境化，直面光谱艺
firmly in the physical sciences), and offers new discoveries about
术的传统（将想象置于物理科学的范畴），并提出关于现代艺
the sources and inspirations for modern art. Grotjahn is savvy
术灵感源泉的新发现。格罗蒂扬对这些理论和历史了如指掌，
to these theories and histories, playing to the inherent strength
充分发挥绘画的内在优势。他的作品十分视觉化，将一种具有
of painting. His works are unabashedly visual and display the
百年历史的媒介饱满地呈现出来。
density of a medium that is hundreds of years old.
GALLERY MAGAZINE
41
封面故事 COVER STORY
H
Damien IRST 达米恩·赫斯特
42
AWAY FROM THE FLOCK glass, painted steel, silicone, acrylic, plastic, lamb and formaldehyde solution 95.89cm×148.91cm×50.8cm 1994
达米恩·赫斯特是 1990 年代最杰出的英国年轻艺术家之
Damien Hirst is the most prominent of the Young British Artists (YBAs) that
一（YBAs）。这个艺术家群体最初获得名气，是在英国广告巨
emerged in the 1990s. This group first gained notoriety when British advertising
头兼收藏家查尔斯·萨奇（Charles Saatchi）开始购买并将
magnate and collector Charles Saatchi began buying and showing their work in his
他们的作品在画廊中展出之后。与 YBAs 许多艺术家一样，赫
galleries. Like many of the YBAs, Hirst confronts big themes head on, including life,
斯特直面生命、死亡、科学和宗教等大命题。他的混合媒介雕
death, science, and religion. His mixed-media sculptures are created from a frequently
塑使用了各种备受争议的材料，比如甲醛浸泡的尸体、烟头、
controversial assortment of formaldehyde-suspended carcasses, cigarette butts,
药品包装和外科医疗器械。他的作品通常置放于玻璃橱窗中。
pharmaceutical packaging, and surgical instruments, often encased in glass vitrines.
赫斯特的作品中，最先引起评论界注意的是他的“点点绘
The earliest Hirst works to attract critical attention were his so-called “spot
画”，1996 年创作的《氯磺丙脲》便是一个例子。这些画作
paintings,” an example of which is Chlorpropamide (pfs), 1996. The paintings are
由数百个大小一样的彩色斑点组成，斑点排列成网格，每件作
composed of hundreds of identically sized colored spots aligned into grids and
品均以管制药物命名。这些内容重复、刻板的系列画作延续安
named after controlled substances. In the Warholian tradition of repetitive, serial
迪·沃霍尔的做法，用简单且欢快的方法来提出令人焦虑的问
images, these unashamedly formulaic paintings use simple, cheerful means to suggest
题，比如，艺术是一种药物吗？药物是治疗还是危害身体？沿
anxious questions, such as: Is art a drug? Do drugs heal or harm? Following the spot
着“点点绘画”，赫斯特继续往主题领域推进，创造出一系列
paintings, Hirst pushed further into this thematic territory by creating a series of
装满药瓶和药品包装的新旧药柜，象征艺术那广受认可的治愈
medicine cabinets filled with drug bottles and pharmaceutical packaging, both old and
力量。
new, symbolizing art’s reputed healing power.
赫斯特继续探索自然和死亡的仪式，创造出体型巨大、吸
Hirst has continued to meditate on the rituals of nature and death in often
引眼球的雕塑作品。他最著名的系列 “自然历史”（Natural
monumental, headline-grabbing scale. His most famous series, Natural History,
History）呈现了在大水缸中用甲醛浸泡的动物尸体。赫斯特
features formaldehyde-preserved animals in large tanks. Hirst looks for an aesthetic
从死亡中寻找审美，让人领悟到美本身就有赖于生命的循环和
beauty in death, often with the realization that beauty itself may depend on cycles of
时间的流逝。通过将未加工的物质变成一件看似带有形而上学
life and the passing away of matter. By turning raw, physical matter into an object
意味的作品，赫斯特推翻了关于图像如何代表现实和实现文化
of seemingly metaphysical import, Hirst upends our assumptions about how images
交流的设想。
represent reality and communicate culturally.
GALLERY MAGAZINE
I
Alex SRAEL 亚历克斯·伊斯雷尔 亚历克斯·伊斯雷尔是一名颇年轻的洛杉矶艺术家。 他的粉色板画看起来就像 80 年代色情电影的场景，他的 作品在巴黎和柏林的时髦画廊中畅销。
Alex Israel is a youngish L.A. artist whose pastelcolor panel paintings look like the sets of ’80s porn flicks; they’ve been selling like hotcakes at chic galleries in Paris and Berlin. UNTITLED (TILED FLAT TRIPTYCH) acrylic and stucco on aluminum, with painted ceramic tiles 2014-2015
THE CRITIC SMILES lead relief with tin relief and cast gold 58.42cm×43.18cm 1969
J
Jasper OHNS 贾斯培·琼斯
1958 年，贾斯培·琼斯凭其著名的靶子和
Jasper Johns’s groundbreaking 1958 installation at the
旗帜作品在里奥·卡斯特里画廊（Leo Castelli
Leo Castelli Gallery of his famous arget and flag works
Gallery）举办了一个具有开创性的装置艺术展，
changed the current of New York painting and had an
改变了纽约绘画的潮流，更对当代艺术产生了
extraordinary impact on contemporary art. In the paintings,
非凡的影响。在作品中，琼斯呈现了可归为“物
Johns presents images that move into the realm of objects and
体”范畴的图像，对“表征”是否应该看作一个
wrestle with the validity of representation as a philosophical
哲学概念的问题进行了探索。用评论家里奥·斯
concept. The targets and flags, in the words of critic Leo
坦伯格（Leo Steinberg）的话说，琼斯作品中
Steinberg, were “co-extensive” with their canvases, existing
的“靶子”和“旗帜”与画布是“共同扩展”的，
somewhere between a symbol and a thing in the world. Not
它们的存在介于符号象征与真实物体之间。在这
only did these paintings begin Johns’s successful dismantling
些画作中，琼斯对结构和仪式进行了讽刺性的分
of modern art through his ironic analysis of structures and
析，因此，这些作品标志着艺术家对现代艺术分
rituals, but they also became the innovative new ground on
解的开始，但同时，这些作品也引领了创新潮流，
which a generation of painters and sculptors made their work.
新一代画家和雕塑家们以此为基础展开了创作。
Johns’s own career spans from the flags, through the device
琼斯自己的艺术生涯可分为三个阶段，从 1960
motif in the early 1960s, into the crosshatch paintings of the
年代初期的物体主题（旗帜）到 1970 年代的阴
1970s, and to his complex, densely layered recent works.
影画，再到复杂、多层化的近期作品。
Johns repeats and collects motifs throughout his career,
在整个艺术生涯中，琼斯不厌其烦地重复和
ready to use them at anytime for different purposes and ends.
收集主题，随时准备将它们用于不同目的。举
For example, though Watchman might be seen as a further
个例子，《守夜人》（Watchman）或许可看作
critique of modernist painting, Johns’s later work takes on
对现代主义画作的进一步批判，但琼斯后期作
more mysterious and elusive ambitions, engaging both the
品的意图变得更加神秘而隐晦，涉及了绘画历
history of painting and more personal concerns.
史和个人忧虑。
GALLERY MAGAZINE
43
封面故事 COVER STORY
BLUE CURVE V oil on canvas 266.07cm×236.22cm 1972
BLUE RED oil on canvas, two joined panels 187.33cm×409.26cm 1968
GREEN BLUE RED oil on canvas 171.45cm×228.6cm 1963
1954 年，在欧洲工作了 6 年的埃尔 斯沃斯·凯利来到纽约时，他找到了一 个极其开放的艺术家环境，在这儿，他 对抽象主义的独特创作方式也能为人所 接受。搬进位于曼哈顿下城、如今已闻 名遐迩的 Conties Slip 建筑之后，凯利 通过艺术结识了艺术家艾格尼丝·马丁 （Agnes Martin）、杰克·扬格曼（Jack Youngerman）、詹姆斯·罗森奎斯特（James
BLACK PANEL WITH WHITE CURVE III oil on canvas, two joined panels 251.46cm×332.74cm 1989
Ellsworth
Rosenquist）和罗伯特·印第安纳（Robert
K ELLY
埃尔斯沃斯·凯利
Indiana）。一开始，凯利的创作方式和 作品与纽约当时流行的抽象艺术全然不
44
同。与对某个人物或图像进行抽象化的做
When Ellsworth Kelly arrived in New York
As many critics have observed, Kelly’s
法不同，凯利更感兴趣于从日常生活和自
in 1954 after six years of working in Europe,
work can be viewed in terms of what it is
然中找到的抽象体验。在他看来，抽象体
he found an environment of artists receptive to
not. Unlike the painting of the abstraction
验必须经“重新创造”，而不是直接“获得”。
his particular approach to abstraction. Moving
expressionist and color field artists at the
正如许多评论家所说的，凯利的作品
into the now famous Coenties Slip complex in
time, Kelly had no desire to make works
可从反面进行定义。不同于当时的抽象
Lower Manhattan, Kelly encountered the art and
involving expression, conceptual organization,
表现主义和色域艺术家的作品，凯利并不
fellowship of Agnes Martin, Jack Youngerman,
depiction, or narrative. He was willing to drop
想让作品染上表现主义、概念框架、描述
James Rosenquist, and Robert Indiana. Initially
traditional painting’s insistence on the square or
或叙述的色彩。他乐意摈弃传统绘画对正
Kelly’s approach and work were radically
rectangular frame to pursue departures of vision
方形或矩形框架的强调，以追求想象和
different from the abstract art being practiced
and experience. For this reason, Kelly is seen
体验。因为此，凯利被看作丹·弗莱文
in the city. Instead of abstracting from a figure
as a forerunner to artists such as Dan Flavin or
（Dan Flavin）和理查·塞拉（Richard
or an image, Kelly was more interested in the
Richard Serra, who focus on the experiential
Serra）等艺术家的先驱，相比起概念信
experience of abstractions found in everyday
act of viewing art rather than the transmission
息的传输，这些艺术家更注重于艺术观看
life and nature. Abstraction was less something
of conceptual information.
的经验性行为。
to be achieved than re-created.
GALLERY MAGAZINE
ALARICHS GRAB [TRANSLATION: ALARIC'S GRAVE] mixed media on treated lead mounted on original photograph in glazed steel frame 170.18cm×240.03cm 1969-1989
出 生 于 二 战 结 束 时 的 安 塞 姆· 基 弗
Born at the close of World War II, Anselm Kiefer
对 推 动 第 三 德 意 志 帝 国（German Third
reflects on and critiques the myths and chauvinism
Reich）崛起的神话和沙文主义进行了思考
that propelled the German Third Reich to power.
和批判。他的画作具有瓦格纳式的规模和
With Wagnerian scale and ambition, his paintings
野心，描述了当代人的矛盾心理：既对德
depict the ambivalence of his generation toward
意志民族主义沾沾自喜，又忧心其对历史
the grandiose impulse of German nationalism and
所造成的影响。基弗的作品在强大意象和
its impact on history. Balancing the dual purposes
批判性分析的双重目的之间取得平衡，被
of powerful imagery and critical analysis, Kiefer’s
认为是新表现主义回归表征和个人反思的
work is considered part of the neo-expressionist
一股力量，而这正定义了 1980 年代的艺术
return to representation and personal reflection that
趋势。那时，基弗是一场关键辩论的中心，
came to define the 1980s. At that time, Kiefer was
这场辩论讨论的是绘画的持续有效性、表
the centerpiece of a critical debate on the continued
征治愈历史伤口的能力以及法西斯主义的
validity of painting, the ability of representation to
遗留。
heal deep historical wounds, and the legacy of fascism.
AM RHEIN photograph on treated lead in a glazed steel frame 241.62cm×131.92cm 1968-1991
K
Anselm IEFER 安塞姆·基弗
GALLERY MAGAZINE
45
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L
Roy ICHTENSTEIN 罗伊·利希滕斯坦
COUP DE CHAPEAU II painted and patinated bronze 231.14cm×33.02cm×76.2cm 1996
CUBIST STILL LIFE WITH PIPE oil, Magna and sand on canvas 45.72cm×61.28cm 1974
罗伊·利希滕斯坦是波普艺术的创始人和创新者
Roy Lichtenstein was one of the founders and innovators of pop art,
之一，这种艺术将机械复制图像的技巧和内容带入美
which brought the techniques and content of mechanically reproduced
术界中。他的标志性风格是手绘常见于商业印刷中的
imagery into the world of fine art. His hallmark style, hand painting
大圆点（benday dots，一种印刷技巧），通过这种
commercially printed benday dots, set forth original meditations on the
创作方式对艺术流派和艺术史展开原创性的思考，更
genres and history of art as well as wry commentaries on modern living.
对现代生活进行讽刺性的评论。利希滕斯坦的画作经
Lichtenstein’s paintings are often seen as ironic or satirical accounts of art
常被认为是对艺术史的讽刺，展示了艺术图像如何成
history, demonstrating how the images of art become common property and
为公共财产，被用于公共消费的广告、印刷和其他媒
are codified by advertising, printing, and other media for public consumption.
体所“规范化”。
into his works to deflate the egos and pretensions of high modernism.
中，以打击极端现代主义（high modernism）的自大
Lichtenstein parodies the existential melodrama of abstract expressionism
和自负。利希滕斯坦拙劣模仿抽象表现派的存在主义
and critiques the rhetoric that attributed a metaphysical or transcendent
式闹剧，对为极端现代主义画作冠上形而上学或超验
import to the movement’s paintings. Lichenstein’s version of abstract
含义的言辞进行了批判。利希滕斯坦的抽象表现主义
expressionism is removed of pomp, turning august concepts and theories into
作品摈弃了浮夸，将令人生畏的概念和理论变成巧妙
equally clever comedy.
的喜剧。
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GALLERY MAGAZINE
In the early stages of his career, Lichtenstein incorporated comics
在其艺术生涯初期，利希滕斯坦将漫画融入作品
MURAKAMI
Takashi
村上隆
村上隆是当今最重要和作品最常见的日本艺术家之
Schimmel）将村上隆对蘑菇符号的痴迷与艺术家小时候
一。村上隆对日本的影响可媲美安迪·沃霍尔对美国的
从母亲口中听到的一个故事联系起来，故事围绕出生在
影响，他以美国评论家和艺术家所预想不到的方式传播
一个与美国原子弹“擦身而过”的城市展开（美国扔下
和推广波普艺术的策略。村上隆的作品因其优美的手法、
原子弹的那天，村上隆的家乡因为被云朵遮住而逃过一
优雅的姿态和远大抱负而广为人知，将许多通常被认为
劫）。村上隆将蘑菇符号用于 1999 年的装置艺术作品
对立的文化趋势结合起来，比如传统日本绘画和西方影
《DOB 君闯进奇异森林（蓝色 DOB 君）》（DOB in the
响，美术和御宅男生活方式（痴迷玩具、日本动漫、视
Strange Forest），在这件作品中，村上隆害羞地将他
频游戏的青少年文化），还有商业零售空间和博物馆及
的第二自我 DOB 先生（村上隆塑造的一个形象，又称“眨
其他公共场所。
眼先生”）置于一个充满危险的复杂日本园林中。DOB 先
村上隆的艺术实践极其广泛，渗入时尚、电影和其
生表现出反抗，这个姿态清楚显示出村上隆对文化持批
他商业领域，但他的兴趣和所用的符号源自更深层次的
判的态度，而不是简单地随波逐流。这有力地表明了村
冲动。比如，村上隆作品中使用的“蘑菇”暗指流行毒
上隆如何在日本文化中定位自己。他在历史的失控疯狂
品文化和遗留历 史 问 题。 策 展 人 保 罗· 席 梅 尔（Paul
和文化堕落中迷失了。
Takashi Murakami is one of the most visible and important Japanese artists working today. Murakami’s influence on Japan rivals Andy Warhol’s on the United States, and he is known for disseminating and promoting pop art strategies in ways unforeseen by American critics and artists. Unifying many strands of culture that are frequently considered in opposition—traditional Japanese painting with Western influences, the realm of fine art with otaku lifestyle (juvenile culture obsessed with toys, anime, and video games), and commercial retail spaces with museums and other public venues—Murakami’s work is recognized for its ambition, polish, and fine execution. Murakami’s artistic practice is expansive, spilling into fashion, film, and other commercial areas, but his symbols and interests come from deeper impulses. For instance, Murakami’s use of mushrooms in his work deals with both popular drug cultures and historical concerns. Curator Paul Schimmel, for one, locates the artist’s fascination with mushrooms in a story his mother told him as a child about being born in a city “passed over” by the U.S. atomic bomb. (On the day of the drop, Murakami’s hometown had too much cloud cover and was avoided as a target.) Murakami employs mushrooms in DOB in the Strange Forest (Blue DOB), 1999, in which the artist coyly positions his alter-ego, DOB, in a complex Japanese landscape that is turning to menace. DOB shows resistance, a gesture that clearly indicates Murakami’s critique of culture rather than simply adding to its excesses. It is a powerful statement of how Murakami sees himself in regards to his Japanese culture. He is lost in the runaway madness of its history and decadence.
HUSTLE'N'PUNCH BY KAIKAI AND KIKI acrylic and platinum leaf on canvas mounted on aluminum frame 300.04cm×608.01cm×5.08cm 2009
GALLERY MAGAZINE
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封面故事 COVER STORY
NESHAT
Shirin
施林·奈沙
Shirin Neshat’s photographs and videos address individual freedoms under attack from or repressed by social ideologies. Throughout most of Neshat’s career, she has been exiled from Iran, an outside observer of the increasing rigors of Islamic law’s effect on the country’s women and daily life. In 1990, Neshat visited
SOLILOQUY SERIES cibachrome print 101.6cm×152.4cm 2000
Iran after twelve years. She was shocked to find women, following the 1979 Islamic revolution, forced to wear 施林·奈沙的摄影和视频作品讨论了遭受社会意识形态攻
the chador, the traditional Islamic veil. Neshat returned
击或压制的个人自由。纵观其艺术生涯，奈沙大部分时间都被
to the United States to make the Women of Allah, 1994,
伊朗驱逐，这让她得以从旁观者的角度观察伊朗法律是如何越
a series of self-portraits in which she wears the chador.
来越严酷地限制女性们的日常生活。1990 年，时隔 12 年之后，
In the photographs, her face, feet, and hands (the only
奈沙再次踏上伊朗的土地。她震惊地发现，继 1979 年的伊斯
parts of the body allowed to be shown by Islamic law)
兰革命之后，女性们被迫戴上黑色方巾，即传统的伊斯兰面纱。
are covered in Iranian poetry by Forough Farrokhzad
奈沙回到美国，于 1994 年创作了戴着黑色方巾的自画像系列
and Tahereh Saffarzadeh. The poetry, placed in sharp
《阿拉的女人》（Women of Allah）。在这组摄影作品中，她
contrast to the uniformity of the veil, suggests a personal
的脸、脚和手（伊斯兰法律规定女人可以外露的部分）密密麻
depth and feeling that often goes unnoticed. The women
麻地写上弗拉夫·法拉扎德（Forough Farrokhzad）和塔哈雷·沙
of Allah are more than icons of oppression; they are
法尔扎德（Tahereh Saffarzadeh）的伊朗诗歌。这些诗歌与
complex individuals with desires and ambitions, moving
千篇一律的面纱形成鲜明对比，暗示了经常为人忽略的个人深
between intense private thoughts and emotions and
度和感觉。阿拉的女性不仅是备受压迫的象征，更是拥有欲望
public political involvement.
和理想的复杂个体，在强烈的个人想法、感情和公共政治参与 之间游移。
48
GALLERY MAGAZINE
The breadth of Neshat’s work extends beyond identity politics, however. As cultural critic Eleanor
奈沙作品的宽度延伸至身份政治领域之外。正如文化评论
Heartney observed, Neshat “makes art through her
家艾莉诺·哈特尼（Eleanor Heartney）所说的，奈沙“以一
identities as an Iranian and as a woman, but reshapes
名伊朗人和一位女性的身份创造艺术，但又超越这些身份，直
them to speak to larger issues of freedom, individuality,
面自由、个性主义、社会压迫、被驱逐的痛苦和性欲的力量等
societal oppression, the pain of exile, and the power of
大问题”。
the erotic.”
OURSLER
Tony
托尼·奥斯勒
Tony Oursler has a dynamic video practice that combines and expands the physical, confrontational installations of Nam June Paik and Bruce Nauman, the countercultural analysis of Mike Kelley and Jim Shaw, and the prevailing theories about the psychological impact of mass
托尼·奥斯勒的影像实践范围极广，他 结合并扩展白南淮（Nam June Paik）和布鲁
DUST fiberglass sculpture, Haron Kardon HS100 5.1 sound system, Sony XGA VPL-PX41 projector, 2 Sanyo PLC-XU48 projectors, 3 dvd players, 6 dvds, 3 master tapes 182.88cm×182.88cm×182.88cm 2006
media on the individual. Studying at California Institute of
斯·南蒙（Bruce Nauman）的对抗性装置艺术、
the Arts in the late 1970s, he worked
麦克·凯利（Mike Kelly）和吉姆·肖（Jim
with first-generation conceptual artists,
Shaw）的反主流文化分析以及关于大众传媒
including John Baldessari, and embraced
对个人造成的心理影响的流行理论。
the movement’s notion of starting with
奥斯勒在 1970 年代末就读于加州艺术学
an idea and then moving to a formal
院（California Institute of the Arts），他与
expression of the idea. His concern with
包括约翰·巴尔代萨里（John Baldessari）
the hegemonic consequences of television
在内的第一代概念艺术家合作，拥护概念艺
and the moving image on psychology and
术运动关于从一个想法入手，再为此想法寻
personal relationships was his starting
找一个正式表达的观点。他的出发点是关注
point. This demanded an expanded vision
电视的霸权地位所造成的结果以及移动图像
of what art making could be and what
对心理和人际关系的影响。为此，对于艺术
could be presented in a gallery setting.
创作的定义和画廊展品的可能性，艺术家必
After working through painting, single-
须具有一种开阔的视野。继绘画、单轨视频
channel video, and various installation
和各种装置艺术的尝试之后，奥斯勒成功创
strategies, Oursler succeeded in creating
作出多媒体混合作品，目的是造就最强大的
a hybrid of multiple media for the utmost
精神冲击。
critical and psychological impact.
WHERE THE SOUL INTACT WILL SHED ITS SCABS (8624 A.D.) acrylic on wood panel 243.84cm×487.68cm×4.13cm 1987-1988
拉里·皮特曼使用的各种符号和装饰图
With an extensive repertoire of symbols and decorative
案来源广泛，他善用能表达严肃主题和披露
motifs, excised from far-ranging sources, Lari Pittman weaves
信息、具有丰富视觉效果的创新性图片，将
innovative, visually dense pictures that convey poignant themes
这些图片密密麻麻地编排到画布上。与概念
and reveal information into every inch of the canvas. Contrary
和极简艺术的冷淡和克制不同，皮特曼醉心
to the cool and reserved aesthetic of conceptual and minimal art,
于技巧的使用。他追求画作的多元化和包容
Pittman’s approach revels in the use of artifice. His pursuit of
性，而不是从一个角度看待社会问题。他认为，
diversity and inclusion in his paintings belies a perspective on
将人们和文化广义化的做法——无论看似多
social issues. He believes that reducing people and cultures to
么深刻——都存在极大的局限性，而且，通
generalizations, no matter how seemingly profound, is limiting
常会成为滋养破坏性和压抑性冲动的温床。
and often privileges a destructive and repressive impulse.
P
Lari ITTMAN 拉里·皮特曼
GALLERY MAGAZINE
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封面故事 COVER STORY
GOLDEN GREBE (SCALE) solvent transfer on fabric collaged to wooden panels with acrylic paint, colored and clear mirrors, and paintbrush 213.36cm×248.92cm×26.04cm 1978
COMBINE oil, charcoal, newspaper, canvas and fabric collage, light bulb and two glass radiometers on nailed wooden structure 64.1cm×39.4cm×10.2cm 1954
R AUSCHENBERG
Robert
罗伯特·劳森伯格
50
罗伯特·劳森伯格和贾斯培·琼斯以及赛·托姆布雷（Cy
Robert Rauschenberg, along with Jasper Johns and Cy Twombly, broke
Twombly）打破了 1950 年代抽象表现主义在风格和概念方面的
the stylistic and conceptual dominance of abstract expressionism in the 1950s
支配地位，并扩大了艺术的范畴。劳森伯格最广为人知的或许
and expanded the horizons of art. Rauschenberg is perhaps best known for
是他的两类作品，即 1950 年代的《融合绘画》（Combines）
two bodies of work, his Combines of the 1950s and his silkscreen paintings,
和 1960 年代初期开始创作的丝印绘画。这些作品创作于波
which he began in the early 1960s. These works preceded and helped inspire
普艺术之前，对波普艺术以及视觉艺术各种媒介的模糊和重
pop art as well as an increased blurring and retooling of the various media of
组起到启发性的作用。劳森伯格还是视觉艺术的绝佳代表，
the visual arts. Rauschenberg has also been a great ambassador for the visual
他因与约翰·凯奇（John Cage）和梅尔赛·康宁汉（Merce
arts, both as a famous collaborator in John Cage and Merce Cunningham’s
Cunningham）合作编排舞蹈而声名大噪，而且，他还是劳森伯
dance compositions and as an international teacher with the Rauschenberg
格海外文化交流机构（R.O.C.I）的一名国际老师，1980 年代，
Overseas Cultural Interchange (R.O.C.I.), an organization that in the 1980s
这个机构将艺术项目和新的艺术创作技术传播到国外。
brought art projects and new art-making technologies to foreign countries.
劳森伯格的《融合绘画》是绘画和雕塑的混合体。在这些
Rauschenberg’s Combines are a hybrid between painting and sculpture.
作品中，劳森伯格将在小巷、街道和旧货店找到的物体与颜料
In these works, Rauschenberg mixes items found in alleys, on the streets, or
和其他艺术创作材料混合在一起。由于使用的都是如此普通的
in junk stores with paint and other materials of art making. Partially because
物体，劳森伯格已成为——用艺术家自己的话说——“在艺术
of his use of such ordinary items, Rauschenberg has become known as an
和生活之间的空隙创作”的艺术家。
artist who, in his own words, “works in the gap between art and life.”
GALLERY MAGAZINE
ANGELO oil on linen 274.32cm×457.2cm 1994
ANGELO oil on linen 274.32cm×457.2cm 1994
S
Sean CULLY 肖恩·斯库利
CONVERSATION oil on four canvas panels 243.84cm×370.84cm×25.4cm 1986
生于爱尔兰、居于美国的肖恩·斯库利是一名
Sean Scully is an Irish-born American-based painter and printmaker
画家和版画家，曾两度受到特纳奖提名。他的作品
who has twice been named a Turner Prize nominee. His work is collected
被全球大型博物馆所收藏。斯库利的画作通常由许
in major museums worldwide. Scully's paintings are often made up of a
多板条组成，极具抽象意味。斯库利用油料作画，
number of panels and are abstract. Scully paints in oils, sometimes laying
有时候恣意挥洒油料，创造出具有质感的表面。继
the paint on quite thickly to create textured surfaces. After a brief initial
初期对硬边绘画进行短暂的尝试之后，斯库利放弃
period of hard-edge painting Scully abandoned the masking tape while
了纸胶带，但仍保留独具特色的条纹图案，后来，
retaining his characteristic motif of the stripe which he has developed
他不断发展和完善条纹图案。他的画作通常含有墙
and refined over time. His paintings typically involve architectural
与墙相连的建筑结构和涂有条纹图案的板条。近年
constructions of abutting walls and panels of painted stripes. In recent
来，他通过让人想起棋盘的组合图形来进一步发展
years he has augmented his trademark stripes by also deploying a mode
标志性的条纹图案。他曾说，这种风格代表了爱尔
of compositional patterning more reminiscent of a checkerboard. He has
兰往多变化社会发展的方式。他在 2006 年说道， “我
stated that this style represents the way in which Ireland has moved towards
记得在爱尔兰长大，放眼所见，甚至连田野和人们
a more chequered society. He stated in 2006, “I remember growing up in
都满是方格图案。”
Ireland and everything being chequered, even the fields and the people.”
GALLERY MAGAZINE
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封面故事 COVER STORY
赛·托姆布雷于 1958 年从纽约搬到意大利，此 后数十年，一直在意大利生活和工作。意大利的地 中海景观，地理环境和文学氛围可谓一片沃土，源 源不断地为托姆布雷对姿态、图像、符号和美长达 60 年的思考提供灵感。托姆布雷在纽约开始了他的 艺术生涯，即使受到抽象表现主义的影响，他很快
Cy Twombly moved from New York to Italy in
就超越立体主义的创作局限和当时纽约绘画艺术流
1958 and lived and worked there for decades. The
行的存在主义姿态，以追求更多样化的绘画技巧。
Mediterranean landscape, both the physical and
1952 年，托姆布雷和罗伯特·劳森伯格到意大
the literary environments, was fertile ground for
利和北非游历了 6 个月。在这趟具有深远影响的旅
Twombly’s six-decade-long meditation on gesture,
途中，托姆布雷对地中海文化产生了极大的兴趣，
image, symbol, and beauty. Twombly began his
并在他的北非素描本中取得了创作上的突破。回到
art career in New York and though influenced by
美国后，托姆布雷的创作中出现了许多类似涂鸦的
abstract expressionism, he quickly sought techniques
图像和标识，他不断将它们进行组合和重组，绝不
of painting beyond the compositional restrictions of
让画面陷入创作停滞。更甚者，托姆布雷还用调色
cubism and the existential posturings of New York
刀和铅笔在未干的颜料画面进行刻画，肆意破坏并
painting at that time.
重构画作的含义。当托姆布雷离开美国前往罗马时， 与神话和古代文字的互动已进入他的作品中。
In 1952, Twombly and Robert Rauschenberg took a six-month journey to Italy and North Africa. During the seminal trip, Twombly absorbed Mediterranean culture as well as made compositional breakthroughs in his North African sketchbooks. The paintings made on his return to New York feature graffiti-like constellations of images and marks that combine and recombine across a surface that
UNTITLED [NEW YORK CITY] oil based house paint and lead pencil on canvas 109.86cm×128.91cm 1955
never locks into a compositional stasis. Twombly literally carved into wet surfaces of paint with palette knife and pencil, aggressively vandalizing and reconfiguring the meaning of painting. When Twombly left for Rome, color and interactions with myth and ancient texts entered into his work.
T
Cy WOMBLY 赛·托姆布雷 ANABASIS, BASSANO IN TEVERINA bronze 116.84cm×48.58cm×48.9cm 1980, cast in 2011 52
GALLERY MAGAZINE
UNTITLED [ROME] oil paint, wax crayon and lead pencil on canvas 130.18cm×150.5cm 1961
迈耶·魏斯曼于 1980 年出现在纽约的艺术界，很快便成为
Simmons）。
最耀眼的明星之一。这位出生于委内瑞拉的艺术家与阿什利·比
如今，魏斯曼作为先驱探索出的一些印刷工艺——比如喷墨
克尔顿（Ashley Bickerton）、杰夫·昆斯（Jeff Koons）和彼
印刷——已普及开来，但他的名字却未如其他同辈艺术家一样家
得·哈雷（Peter Halley）被称为艺术界的“神奇四侠”，引领
喻户晓。他在 2000 年离开纽约艺术界，在加文·布朗企业画廊
了新几何运动。通过商业和照相制版的试验，魏斯曼对“原创”
（Gavin Brown's Enterprise）举办最后一场展览后便迁往巴塞
概念进行了探索，同时为自己的多媒体作品注入讽刺和幽默。这
罗那。这场展览的主要展品包括以艺术家（身型丰满的）前治疗
位艺术家还因联合创办了位于纽约曼哈顿下区东村的国际纪念画
师为原型的实体人物模型，以及艺术家用父母的旧衣制成的一套
廊（International With Monument）而为人津津乐道，这个国际
深色小丑服。这件带有弗洛伊德色彩的装置艺术作品可谓一个预
画廊成为了新几何运动的中心，展出了许多艺术家的作品，包括
兆。后来，魏斯曼经历了一系列的精神和情感打击，最终找到了
当时刚崭露头角的莎拉·查尔斯沃斯（Sarah Charlesworth）、
新的精神信仰。
理 查 德· 普 林 斯（Richard Prince） 和 劳 丽· 西 蒙 斯（Laurie
V
Meyer AISMAN 迈耶·魏斯曼 THE LABOR PAINTING process inks on four canvas panels 182.88cm×457.2cm×27.94cm 1987
Meyer Vaisman burst on to New York's downtown art
others.
scene in 1980, and swiftly became one of its brightest stars.
These days, the processes Vaisman pioneered, such as inkjet
The Venezuelan-born artist was hailed as one of the “Fantastic
printing, are everywhere, but his name is not as well-known as
Four” alongside Ashley Bickerton, Jeff Koons and Peter Halley,
those of his former peers. He left New York's art world in 2000,
constituting a quartet credited with leading the Neo-Geo
decamping for Barcelona after a final show at Gavin Brown's
movement. Experimenting particularly with commercial and
Enterprise. The exhibition featured a life cast of Vaisman's fleshy
photomechanical reproduction, Vaisman explored questions of
former therapist and a dark-colored harlequin suit made of clothing
authorship while infusing his multimedia work with acute irony
belonging to his parents. The installation, with its Freudian
and humor. He famously co-founded the East Village gallery
undertones, was something of an omen. Vaisman experienced a
International With Monument, which became legendary as the
series of psychiatric and emotional breaks that ultimately led him
Neo-Geo nexus, exhibiting then-emerging artists such as Sarah
to a newfound spirituality.
Charlesworth, Richard Prince and Laurie Simmons, among many
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封面故事 COVER STORY
SELF PORTRAIT acrylic, silkscreen ink, pencil and ballpoint pen on linen 57.5cm×57.5cm 1966
WARHOL
Andy
安迪·沃霍尔
安迪·沃霍尔被认为是战后艺术最重要的人物之一， 他几乎对艺术界的各方面都产生了影响。他和包括罗 伊·利希滕斯坦以及詹姆斯·罗森奎斯特在内的其他波 普艺术家将大众商业主义的意象和技巧带入美术界，打 破了 1960 年代抽象表现主义绘画在风格方面的支配地 位。利希滕斯坦用手绘漫画在艺术和流行文化之间建立 关系，沃霍尔则着重于用摄影、丝网印刷和电影来推动 他的前卫艺术观点。除了艺术，沃霍尔的形象和个人名 气使他取得了不同于其他艺术家的当代地位。他开办的 工作室纽约影楼（the Factory）成为 1960 年代反文化 运动的基地，更是知名音乐家和艺术家们经常出入的地 方，其中包括卢·里德（Lou Reed）、鲍勃·迪伦（Bob Dylan），垮掉派诗人以及纽约艺术界的人物。 沃霍尔最著名的作品或许是 1960 年代初创作的丝 网印刷。以名人、死亡和商品文化为主题，这些丝网 印刷作品暗喻美国文化和资本主义社会中名声的变化无 常。1962 年的作品《2 个玛丽莲》（Two Marilyns）和 1964 年的《20 个杰姬》（Twenty Jackies）极好地说 明了沃霍尔如何将批量复制的技巧与以宗教符号和肖像 画为主题的传统绘画流派结合起来。沃霍尔作品中的玛 丽莲和杰姬都是那一时代的代表性象征，沃霍尔通过艺 术将她们与批量复制技巧联系起来，因此，他的作品在 关于原创、独创和艺术的终结的讨论中起到了至关重要 的作用。 沃霍尔还在作品中使用多种抽象手法，以模仿和评 论当时的艺术，尤其是抽象表现主义。但与此同时，他 的作品也能让观众进行深入解读，思考绘画作为一种表 述行为实践是如何一步步演变的，以及——由于作品放 在地板上展示——绘画与雕塑之间不断变化的关系。
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GALLERY MAGAZINE
40 GOLD MARILYNS silkscreen ink and synthetic polymer paint on canvas 203.2cm×281.94cm 1980
TWENTY JACKIES silkscreen ink on linen 204.47cm×204.47cm 1964
Andy Warhol is considered one of the most important figures in postwar art and has had an impact on almost every aspect of the art world. He, along with other pop artists like Roy Lichtenstein and James Rosenquist, brought the imagery and techniques of mass commercialism into fine arts and broke up the stylistic hegemony of abstract expressionist painting in the 1960s. While Lichtenstein used hand-painted comics to develop a relationship between art and popular culture, Warhol focused on photography, silkscreen printing, and cinema to push his avant-garde imperatives. Alongside his art, Warhol’s persona and individual celebrity led to a contemporary status unlike any other artist. His studio, the Factory, became a flashpoint for 1960s counterculture, and was frequently visited by musicians and artists such as Lou Reed, Bob Dylan, and the Beat poets, as well as most of the New York art scene. Warhol’s silkscreens of the early 1960s are perhaps his best-known works. Drawing on themes such as celebrity, death, and commodity culture, the silkscreens are seen as metaphors for American culture and the fickle nature of fame in a capitalist society. Two Marilyns, 1962, and Twenty Jackies, 1964, exemplify Warhol’s mixture of the techniques of mass reproduction with the older, established painting genres of religious icons or portraiture. Warhol’s Marilyns and Jackies are symbols of their time, bound in their representations. Their relationship to mass reproduction makes these works of central importance to discussions of authorship, originality, and the possible end of art. Warhol also used various programs of abstraction in his painting to mimic and comment on art of his era, especially abstract expressionism. At the same time, however, the work allows a deeper reading of the evolving nature of painting as a performative endeavor or, since the work is displayed on the floor, the changing relationship between
CAMPBELL'S SOUP CAN (CLAM CHOWDER - MANHATTAN STYLE) [FERUS TYPE] casein and pencil on linen 50.8cm×40.6cm 1962
painting and sculpture.
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封面故事 COVER STORY
Photo by Ben Gibbs, courtesy of The Broad
CINDY SHERMAN
辛迪·雪曼
戏仿人生 IMITATION OF LIFE 56
GALLERY MAGAZINE
资料来源：布洛德美术馆 Materials from The Broad
2016 年 6 月 11 日，布洛德美术馆（The Broad）自去
The Broad’s first special exhibition, on view June 11 - October 2, 2016, was a
年 9 月开馆以来举办了首个大型特展——辛迪·雪曼：戏仿
comprehensive survey of the work of artist Cindy Sherman. Cindy Sherman: Imitation
人生。此次展览是洛杉矶近 20 年来首次在博物馆呈现的雪
of Life was the first major museum show of Sherman’s work in Los Angeles in nearly
曼主题展，整个展览用整一层的空间展示了雪曼的 120 件作
20 years, and the exhibition filled The Broad’s first-floor galleries with 120 works drawn
品，其中包括布洛德馆藏以及部分外借作品。据悉，展览持
primarily from the Broad collection with key loans from other institutions.
续至 2016 年 10 月 2 日。
“Cindy Sherman’s work has been a touchstone for the Broad collection since Eli
“辛迪·雪曼是布洛德夫妇（Eli and Edye Broad）
and Edye Broad first encountered it in 1982, and Cindy is the only artist in the collection
1982 年第一次尝试收藏的作品，而她也是我们 30 年来唯一
whose work we’ve acquired so deeply and regularly, for more than 30 years,” said Joanne
持续收藏的艺术家，至今已有 127 余件馆藏。如此深入和丰
Heyler, founding director of The Broad. “There are 127 Cindy Sherman photographs in
富的收集使得布洛德美术馆成为世界首屈一指的辛迪·雪曼
the Broad collection, the largest holding of her work in the world, and inaugurating our
收藏艺术机构。这次特别展览有幸向公众展示如此一批亮眼
special exhibitions with an artist whose work sparked the Broads’ deep commitment to
的创作，对我们而言也是荣幸之至。”美术馆创始董事乔纳
contemporary art could not be more appropriate for us.”
恩·海勒（Joanne Heyler）介绍道。
Most well-known for photographs that feature the artist as her own model playing
辛迪·雪曼以自我装扮模仿一系列刻板的女性形象，并
out media-influenced female stereotypes in a range of personas, environments, and
融合人物性格、环境于其中的摄影系列作品闻名。通常这些
guises, Sherman shoots alone in her studio, serving as director, photographer, make-up
摄影的化妆、发型、造型及主题均由雪曼她独立创造自导自
artist, hairstylist, and subject. Her decades-long performative practice has produced many
演完成，长此以往，她便创作出许多颇具影响力且标志性的
of contemporary art’s most iconic and influential images. In her work, Sherman proposes
当代艺术图像。雪曼将自己对当代文化中的身份、代表性、
powerful questions about identity, representation, and the role of images in contemporary
角色的质疑倾注其作品中。她以其精湛的人物摄影再现了包
culture. From screen siren and pin-up to socialite and businesswoman, the roles Sherman
括电影女星、贵妇、成功女商人等形象和那些一成不变的生
depicts through her monumental body of work provocatively engage with contemporary
活方式（刻板的形象），这些摄影不仅从艺术的角度刻画，
life’s mediated personas and stereotypes, drawing not only from art history but also from
同时结合广告、电影、媒体等因素塑造。
the histories of advertising, cinema, and media.
由特邀策展人菲利普·凯泽（Philipp Kaiser）策划，
Organized by guest curator Philipp Kaiser, and taking cues from Los Angeles’ role as
此次展览集中展示了辛迪·雪曼四十余年艺术生涯多件极具
the mecca of the film industry, this exhibition foregrounded Cindy Sherman's engagement
代表性作品，还有许多鲜为人知的作品。如 1997 年她执导
with 20th century popular film and celebrity. The exhibition featured an expansive
的电影《深藏不露》（Office Killer），还有受五六十年
representation of Sherman’s photographs from throughout her influential career of more
代好莱坞电影启发， 最著名的《无题电影剧照》（Untitled
than four decades, as well as Office Killer, the 1997 feature film directed by the artist.
Film Stills）系列和较少人知晓的投影系列，它们同时也
Her widely known Untitled Film Stills series, as well as the less known rear projection
构成了展览的中心概念，其中有许多作品也是首次亮相洛杉
series, both inspired by cinema of the 1950s and 1960s, played a central conceptual role
矶。
in the show, and the show included many works never before exhibited in Los Angeles.
凯泽说：“雪曼是我们这个时代最具影响力的艺术家之
“She is one of the most important artists of our time, with a body of work that
一，图像时代（Pictures Generation）的一个创作范本，
exemplifies the Pictures Generation—artists whose work came to fruition in the age of
她的创作使得 80 年代的大众媒体图像在今天扩散得到了实
the proliferation of mass media imagery in the ‘80s, which is relevant to today’s image-
现 的 可 能， 这 无 疑 与 现 下 的 读 图 世 界（image-saturated
saturated world,” said Kaiser.
world）紧密相连。”
#CindySherman GALLERY MAGAZINE
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《消融屋》 The Obliteration Room
YAYOI KUSAMA
草间弥生
无限镜屋 INFINITY MIRRORS 58
GALLERY MAGAZINE
资料来源：布洛德美术馆 Materials from The Broad
布洛德美术馆（The Broad）首次草间弥生大型互动特
The Broad’s first hosted special exhibition, Yayoi Kusama: Infinity Mirrors --the first
展——“无限镜屋”将于 2017 年秋季向大众揭开序幕，此
institutional survey to explore the celebrated Japanese artist’s immersive Infinity Mirror
次展览是加州地区唯一展示草间弥生大型作品的美术馆，
Rooms--will embark on the most significant North American tour of her work in nearly
也将为大众呈现艺术家近 20 年最具代表性作品。“无限镜
two decades, and The Broad will be the only California museum to host the exhibition
屋”将会在北美的 5 馆进行巡回展览，首站展览于 2017 年
when it comes to Los Angeles in 2017.
2 月 23 日 在 赫 希 尔 美 术 馆（Simithsonian’s Hirshhorn
Following its debut at the organizing institution—Smithsonian’s Hirshhorn Museum
Museum） 开 幕， 紧 接 着 是 西 雅 图 美 术 馆（Seattle Art
and Sculpture Garden—on February 23, 2017, Yayoi Kusama: Infinity Mirrors will
Museum）（2017 年 6 月 30 日——9 月 10 日）、布洛德美术
travel to four major museums in the United States and Canada, including the Seattle
馆（2017 年 10 月——2018 年 1 月）、安大略美术馆（Art
Art Museum (June 30–September 10, 2017), The Broad in Los Angeles (October 2017–
Gallery of Ontario）（2018 年 3 月——5 月）和克利夫兰
January 2018), the Art Gallery of Ontario (March–May 2018), and the Cleveland
美术馆（Cleveland Museum of Art） （2018 年 7 月——10 月）。
Museum of Art (July–October 2018).
2015 年 开 馆 以 来， 布 洛 德 美 术 馆 就 已 展 出 了 草 间 弥
Since opening in September 2015, The Broad has featured Kusama’s installation
生的装置作品“无限镜屋——数百万光年以外的灵魂”（
Infinity Mirrored Room – The Souls of Millions of Light Years Away, 2013, from the
Infinity Mirrored Room - The Souls of Millions of
Broad collection. One of the most popular artworks on view at The Broad, the installation
Light Years Away, 2013），
is a mirror-lined chamber populated with a dazzling and seemingly vast array of LED
是最受欢迎的在展展品之一。镜子镶满了整个雕塑大厅 形成“镜屋”，搭配令人炫目的 LED 彩色灯泡，通过灯光如 脉动般时明时暗的设计，创造出能够迷惑观众的“无限空间”。 “无限镜屋”由赫希尔美术馆策展人吉竹美香（Mika Yoshitake）联合策划，将为观众带来独一无二的草间图
lights creating a disorienting sense of limitless space. Organized by Mika Yoshitake, associate curator at the Hirshhorn, in rough chronological order, Yayoi Kusama: Infinity Mirrors begins with the artist’s milestone installation Infinity Mirror Room—Phalli’s Field, 1965/2016, a dense and dizzying field of hundreds of red-spotted phallic tubers in a room lined with mirrors.
景世界——艺术家从 50 年代至今的各类大型装置和重要
The exhibition will also include Infinity Mirror Room—Love Forever, 1966/1994,
绘 画 作 品， 以 草 间 弥 生 的 转 型 期 作 品“ 无 限 镜 屋 —— 阳
a hexagonal chamber into which viewers will be able to peer from the outside, seeing
具原野”（Infinity Mirror Room - Phalli’s Field,
colored flashing lights that reflect endlessly from ceiling to floor. The work is a re-
1965/2016）”作为展览开端，从这件作品开始艺术家利用
creation of Kusama's legendary 1966 mirror room Kusama's Peep Show (no longer
镜子把其早期纸上作品的强烈重复感转换成感知体验。纵观
extant), which the artist used to stage group performances in her studio in the late 1960s.
其艺术生涯，草间弥生制作了超过 20 件各不相同的“无限
Kusama’s signature bold polka dots will be featured in Dots Obsession—Love
镜屋”作品，这次展览则为观者提供了一个独一无二的机会
Transformed into Dots, 2009, a domed mirror room surrounded by inflatables suspended
去感受到 6 件“无限镜屋”的作品。在艺术家这些最具标志
from the ceiling. More recent spectacular LED environments, filled with lanterns or
性的、令人眼花缭乱的场景中，放置着艺术家从 50 年代至
crystalline balls that seem to extend into infinite space, will be represented by Aftermath
今的各类大型装置和重要绘画作品，通过不同的媒介全面展
of Obliteration of Eternity, 2009, and The Broad’s Infinity Mirrored Room - The Souls of
现了艺术家几十年来对“无限”的探索。
Millions of Light Years Away, 2013.
在名为“无限镜屋——无限的爱”（Infinity Mirror
A selection of more than 60 paintings, sculptures and works on paper will also be
Room - Love Forever, 1966/1994）的六边形空间中，观众
on view, showcasing many of Kusama’s lesser-known collages, made after her return to
可以从外面全览房间六角与从天花板到地板无尽的耀眼灯
Japan in 1973. These works trace the artist’s trajectory from her early surrealist works on
光。这件作品再现了艺术家在 1966 年的 “草间的偷窥秀
paper, Infinity Net paintings and Accumulation assemblages to recent paintings and soft
#InfiniteKusama GALLERY MAGAZINE
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封面故事 COVER STORY
《无限镜屋——阳具原野》装置内部 1965 Yayoi Kusama Installation view of Infinity Mirror Room—Phalli's Field, 1965, in Floor Show, Castellane Gallery, New York, 1965 Sewn stuffed cotton fabric, board, and mirrors Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York. © Yayoi Kusama
YAYOI KUSAMA
草间弥生 草 间 弥 生 于 1929 年 在 日 本 松
Kusama was born in Matsumoto, Nagano, in 1929, and
岛市长野县出生，现工作于东京。
works at her studio in Tokyo. She studied traditional Nihonga
早年曾在京都学习传统日本胶彩画
(Japanese-style) painting in Kyoto and moved to New York
（Nihonga），1958 年搬到纽约后活
City in 1958. There, she was active in avant-garde circles
跃于极简主义和波普艺术雏形期的
during the formative years of Pop art and Minimalism,
先锋艺术圈，安迪·沃霍尔、奥登
exhibiting her work alongside such artists as Andy Warhol,
伯格、艾伦·卡普罗等人对草间弥
Claes Oldenburg and Allan Kaprow—figures who have cited
生的集成艺术、环境艺术、行为艺
Kusama as influential to the development of assemblage,
术 都 影 响 颇 深。 在 20 世 纪 60 年 代
environmental art and performative practices.
中期，草间弥生曾结合“空（Nul）”、
60
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Kusama exhibited widely in Italy, Germany and the
“ 零（Zero）”、“ 新 趋 势（New
Netherlands in the mid-’60s, participating in exhibitions with
Tendency）”等元素在意大利、德国、
artists associated with Nul, Zero and the New Tendency in
荷兰展出，也正是在欧洲展览的这
Europe, where she began developing her interest in the optics
段时间促使艺术家开始关注光和镜
and interactive elements of mirrors, electric lights, sound and
子的联系、电光、声音和动力等元素。
kinetics.
60 年代后期草间弥生凭借其在
Kusama’s fame grew in the late 1960s through her
纽约的裸体圆点游行表现其激进的
radical antiwar happenings, which espoused nudity and polka
反战思想闻名，在 1973 年艺术家由
dots in the streets of New York. Because of ongoing struggles
于其健康问题回到日本。近些年，
with her health, Kusama returned to Japan in 1973, where
艺术家再次因持续不断的争议备受
she has since resided. In recent years, Kusama has achieved
瞩目。
celebrity status as well as tremendous critical respect.
《无限镜屋——数百万光年以外的灵魂》 Infinity Mirrored Room - The Souls of Millions of Light Years Away 2013 © Yayoi Kusama, Courtesy of David Zwirner, N.Y.
《永恒幻灭之后》 Yayoi Kusama Aftermath of Obliteration of Eternity, 2009 Wood, mirror, plastic, acrylic, LED, black glass, and aluminum Collection of the artist. Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York. © Yayoi Kusama
（Kusama’s Peep Show）”中的一个潘多拉般的空间。（现在已经不存在了），这个空间曾在
sculptures, highlighting recurring themes of nature
60 年代后期被艺术家用于其工作室的群演场景。
and fantasy, utopia and dystopia, unity and isolation,
“ 沉 迷 圆 点 —— 转 而 爱 上 圆 点”（Dots Obsession - Love Transformed into Dots,
obsession and detachment, and life and death.
2009）是一个从天花板吊下来的拱形镜面房间，其中艺术家的签名圆点装置将会被放置在中
The exhibition will conclude with Kusama’s
心位置展出。这些绚烂的的 LED 场景借各式小彩灯和水晶球营造无限的空间感，以艺术家在
iconic participatory installation The Obliteration
2009 年创作的 Aftermath of Obliteration of Eternity 和即将在本馆展出的“无限镜屋——
Room, 2002, an all-white replica of a traditional
数百万光年以外的灵魂”（ Infinity Mirrored Room - The Souls of Millions of Light
domestic setting. Upon entering, visitors will be
Years Away, 2013）最具代表性。
invited to cover every surface of the furnished gallery
此外，还有艺术家标志性的观众参与装置——“消融屋”（The Obliteration Room， 2002）。这件作品是一个全白的类似传统家庭空间，其中的色彩静待观众去填充，观众可以用 各种多彩的圆点装饰屋内所有的家具，最后将是观众创造的一个五彩的世界。
with multicolored polka dot stickers, gradually engulfing the entire space in pulsating color. “Our Infinity Mirrored Room has become a
除了以上几个空间，展览还将呈现艺术家的 60 多件油画作品、雕塑以及纸上作品，包括艺
cultural phenomenon and many of our visitors are
术家在 1973 年回日本之后创作一些鲜为人知的拼贴作品。这些作品将从艺术家早期的超现实纸
extremely passionate about Kusama’s work,” said
上作品、无尽的网格油画、综合创作，到近期的油画、软雕塑，以及一再强调重复的自然与幻想、
Joanne Heyler, founding director of The Broad. “The
乌托邦与“异托邦”、沉迷与脱离、生命与死亡这些方面整体描述艺术家的艺术创作历程。
timing is right for an exhibition that contextualizes
布洛德美术馆的创意总监乔纳恩·海勒（Joanne Heyler）介绍道：“‘无限镜屋’已经是
the infinity rooms and brings Kusama’s contributions
草间弥生的一个标志了，它深深地吸引着越来越多的观众；而现在也是深入研究展现草间弥生
to 20th and 21st century art into deeper focus. We
从上世纪至今的艺术历程的最佳时机，能把一位如此耀眼的艺术家七十多年艺术生涯创作带到
are thrilled to present this unprecedented special
观众面前，布洛德美术馆也感到非常荣幸。”
exhibition at The Broad next year that engages seven decades of work by a phenomenal artist.”
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《白蛇传》布面丙烯 MADAME WHITE SNAKE 140cm×160cm acrylic on canvas 2016
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邓洧 DENG WEI
LET THE PAIN
Lights Us Up 让伤痛照亮我们 —— 读邓洧的画
撰文：冀少峰 Written by Ji Shaofeng
对于邓洧而言，画布就是他记忆的场所，
or Deng Wei, canvas has been
也是他燃烧激情、放飞梦想、追寻自由与希望
a hideout for memories and
的慰藉之地，他试图用艺术来完成自我的救赎，
a place of solace where he
进而希冀用艺术来为社会疗伤。
burns passion, flies dreams
透过邓洧的视觉图像世界，观赏者可以感
and seeks freedom and hope.
受到他的挣扎与痛苦。虽然邓洧展示的视觉图
He tries to use art to achieve self-redemption,
景并非一般观赏者所期望的那种“美”的画面，
and eventually, hoping to use it for the wounds
但绝对是人们应该看到的真实。无聊的青年、
curing of the society.
卖春的女孩、被城管驱赶的卖菜老太太及诸多
T h r o u g h D e n g We i’s v is u a l im a g e s ,
庸俗且病态的社会现象。邓洧以直观的视觉讲
audiences can feel his struggles and pains.
述，清晰地呈现出了社会在文明变迁、文明转
What Deng Wei presents is not the kind of
型过程中出现的一些问题。文明转型给社会带
“beautiful” images audiences expect to see, but
来的不仅仅是思想观念的转型之痛，更是社会
the reality that people should see, including
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《非著名雕像》布面丙烯 NON FAMOUS STATUE 140cm×160cm acrylic on canvas 2016
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the bored youth, the girl selling her body for money, the vegetable-selling old lady driven away by city inspectors as well as many other vulgar and pathological social phenomena. With institutional visual narration, Deng Wei explicitly presents problems emerging during the process of civilization transition and transformation. This transformation brings pains for the society, not only in the changing of ideology but more importantly, in the rebuilding of the social structure of the deeper level, causing not only suffering and anxiety but also indignation and the awakening of conscience. However, this kind of thinking derived from the 《开发商领导人民之二》布面丙烯 DEVELOPERS LEAD THE PEOPLE NO.2 40cm×50cm acrylic on canvas 2016
pain of the marginalized underclass precisely becomes a force that lights up the road forward. 深层结构的转型之痛，这种痛带来的不仅仅是痛
It is not hard to see that Deng Wei’s visual
苦和焦虑，更是一种激愤和良知的觉醒。这种来
narration shows a strong concern for lower-
自底层边缘社会的思考之痛，恰恰又构成了照亮
class culture.
我们前行的一股力量。因此，我们不难发现，邓 洧的视觉叙事带有强烈的底层文化关怀。
For Deng Wei who just walked out of the ivory tower, the days of tranquility and elegance
对于刚刚从象牙塔走向社会的邓洧而言，之
have gone forever, replaced by the suffering
前在象牙塔里安静而优雅的时光一去不复返了，
of life dilemmas and hardness of survival.
代之而来的是生活的困境、生存的艰难。陌生的
Strange environment, glances, and indifferent
环境、陌生的眼神还有冷漠的生存氛围，这些都
survival atmosphere have provided lessons
给初入社会的邓洧上了生动的一课。他看不见文
for Deng Wei as a freshman in the society. He
明却看到了暴力，看不见和善却看到了社会底层
sees not civilization but violence, senses not
人的无奈与孤寂，看不见充实却感到孤寂的茫然。
geniality but helplessness and loneliness of the
“看不见……，又看得见的”充满着二律背反的
underclass, and feels not content but desolate
交织与庞杂，导致邓洧的视觉表达充满着混杂性
loss. “Sees not…but…” is interwoven with the
《绿警》布面丙烯 GREEN POLICE 40cm×50cm acrylic on canvas 2016
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《我好棒》布面丙烯 I'M GREAT 40cm×50cm acrylic on canvas 2016
《乱石》布面丙烯 STONING 40cm×30cm acrylic on canvas 2015
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《弃石》布面油画 ABANDONED STONE 60cm×170cm oil on canvas 2014
与多样性。特别是充斥在视觉图像间的叛逆
disorder of antinomy, giving Deng Wei’s
are otherwise covered up by the superficial
情绪，也使他的作品散发出一种 “坏画”
visual expression a hybridity and diversity.
appearance.
倾向。他脱离了学院中那种迷人的、令人激
The rebellious emotion filling the visual
Deng Wei’s generation is born in an
赏的技巧，却以自边缘人的身份，抗击世俗
images, in particular, enables his works
age when the power and halo of divinity
与现实叫板。尽管邓洧的抗争充斥着语言的
to show a tendency of “bad painting”. By
have faded. They are not members of the
丰富性与语义的混杂性，但来自底层社会和
abandoning academic techniques that are
capitalized Collective unity, but are lower-
边缘社会群体中的邓洧，无疑是那样自信而
charming and applaudable, he sees himself
case individuals of different typefaces and
珍贵。
as one of the marginal to fight against
fonts. Take Deng Wei for example, as a
只有透彻地了解生存处境，才能用视觉
secularity and challenge reality. As a member
student of famous teachers, he received
武器来思考、交流。邓洧希望用视觉图像中
of the underclass and the marginalized social
a good education in art and developed
的暴力来反抗社会中的暴力；用视觉图像中
group, Deng Wei is undoubtedly confident
solid modeling skills, but he confirmedly
的谎言建构一个充实的生存实境；用视觉图
and rare, though his resistance is filled with
believes that life should always be higher
像中的庸俗形象去重塑一个至真、至纯、至
language richness and semantic hybridity.
than art. He cherishes no high aspirations
美、至崇高的形象；用视觉图像中所反映的
Only through a thorough understanding
but yearns for reality. Instead of a realist
种种无底线行为迎来新的社会秩序、结构的
of life predicaments can one uses visual
pursuing reality and the realization of “small
重建。邓洧以真诚、真情的视觉表达，让观
image for thinking and communicating. It
self” that he appears to be like, he focuses
赏者看到了一个貌似浅薄的文艺青年内心深
is Deng Wei’s hope to use violence in the
his eyes on the “rural-urban continuum”,
处对社会的深刻洞察与激情表达。
visual images to fight against real violence
a sensitive, extremely fragile and easily
邓洧这代人，他们在神性的力量及其光
in society, to uses the lies in the images to
neglected area. The choice is due to the fact
环已经消褪的时代降生。他们不是那个大写
build a solid-founded life condition, and to
that he has been a long-time resident of a
的集体主义的人，而是各种小写字体，小字
use the vulgar images for the remodeling of
rural-urban continuum where he gained
号的人。就邓洧而言，他师出名门，受过良
a sincere, pure, beautiful and elevated image.
a lot of surviving experience. Poverty,
好的艺术教育，有着坚实的造型能力，但他
In a word, he wishes to use the extremely
backwardness, and violence turn such kind
坚定地认为生活永远高于艺术。他不希冀什
vulgar behaviors reflected by the images to
of area into not only a grey zone, but also a
么宏大理想，他向往现实、追求实际。看似
usher in the rebuilding of new social orders
place gradually degenerating into an abyss
是一个追求现实与实际，努力实现“小我”
and structures. With sincere and genuine
of pain. As reluctant as we are, this is the
的现实主义者，但他却把自我凝视的目光聚
visual expressions, Deng Wei presents to
reality we should be seeing. Only when we
焦在“城乡结合部”，这个既敏感又极端脆
audiences a young artist’s profound insight
pluck up enough courage to face the poverty,
弱，而且极易被忽略的地方。因为邓洧本人
and passionate portrayal of the society that
helplessness, fear, boredom, emptiness, loss
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《破画》布面丙烯 BROKEN PICTURE 70cm×140cm acrylic on canvas 2015
就长期生活在城乡结合部，在那里有许多他的生存体
逐流的勇气。他以“我很棒”来凸显自我与社会的一
关于爱情，关于穿越世界的旅行。如今，我们深夜饮酒，
验与生存经验。城乡结合部的贫穷、落后、暴力，使
种关系、一种抗争、一种自尊与自强、一种救赎与疗伤。
杯子碰到一起，都是梦破碎的声音。”上一代人为何
这个地带不仅仅是一个灰色地带，更是一个逐渐走向
他通过“我很棒”来消解日常琐事的困扰，并借此表
和邓洧这代人有着如此惊人相似的体验？
痛苦深渊的地方。尽管我们不愿意看到这样一个痛苦
露出自己内心深处对当代社会和艺术人生的切身体验。
的深渊，但这绝对是我们应该看到的真实。当我们有
体验的背后是埋藏在人性深处的良知。因为有伤痛，
上代人的坚强，而他不厌其烦营构的那种幻境又凸显
勇气去直面这些贫困、绝望、恐惧、无聊、空虚、迷茫、
所以值得我们去反思。
了邓洧所追求的是摆脱物欲，实现心灵自由。因为他
甚或死亡的时候，我们才能真正发现在邓洧作品那略 显荒诞的表象中隐藏着怜悯、不屈和希望。 邓洧有幅作品名为《我好棒》 （40cm×50cm.2016），
作为生命个体的邓洧唯有回到画布，方能才情尽
不管怎样，邓洧的图像世界传达出的是不逊色于
始终坚信，有梦就会有希望。
显。他用充满着激愤泪滴的画布去燃烧压抑已久的激
在对邓洧的视觉追问中，我们可以看到，能真实
情，去控诉丧失人性的暴力与野蛮。他希冀建构的是
书写自己人生的年轻人，在未来，将成为社会的精英。
他在这幅作品中不仅向大众传达了他的生活哲学和文
一种美好愿景，但现实带给他的却是“谎言”、“乱石”
而现在，我们却对他们一无所知。
化态度，更透露着他内心深处的善意。生活中的邓洧
和“废园”，还有在资本纵容下的强权和道德无底线
是一位很有趣味的人，在他身上可以看到那种不随波
行为。记得北岛曾言“那时代我们有梦，关于文学，
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《关系》布面丙烯 RELATIONSHIP 40cm×50cm acrylic on canvas 2015
《吹泡泡》布面油画 BUBBLING 100cm×100cm oil on canvas 2015
and even death can we see through the slightly absurd
Behind the experience is conscience buried in the depth
can only hear the sound of dreams shattering. How
appearance of Deng Wei’s works and discover the
of humanity. It is the existence of the pain that deserves
come Deng Wei’s generation shares surprisingly similar
compassion, unyieldingness and hope hidden inside.
our reflection.
experience with the last generation?
T h r o u g h I A m G re a t ( 2 0 1 6 , 4 0 * 5 0 c m i n
As an individual life, Deng Wei can only fully
No matter what, Deng Wei’s image world conveys
dimension), Deng Wei not only presents to the public
display his talent on canvas. On canvas, he can release
a toughness not less than that of the last generation, yet
his life philosophy and cultural attitude, but also his
his indignation and ignite his long-suppressed passion,
the kind of dreamland he tirelessly builds highlights his
inmost goodwill. Deng Wei is a very interesting person
and accuse violence and barbarism that show a loss
pursuit to get rid of material desire and realize spiritual
in life, in whom one can see the courage of not going
of humanity. He wishes for the building of a beautiful
freedom. He always believes that with dreams, there
with the stream. He uses the work to highlight the
vision, but instead receives from reality “lies”, “stone
will be hope.
relationship between self and society as well as the
ripraps”, “desolate garden” and power as well as
During the examination of Deng Wei’s visual
resistance, self-esteem, self-improvement, redemption
immorality indulged by capital. It reminds me of Bei
world, we can realize that only those who can genuinely
and healing of self. Through I Am Great, he clears up
Dao’s famous poem: Back then we had dreams, about
write stories of their own life can they become elites of
distress caused by trivial affairs and shows his own
literature, about love, about trips across the world; but
the society. But now, we know nothing about them.
experience with contemporary society and artistic life.
now, at late night we drink, with glasses clinking, we
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《和风景》布面油画 WITH LANDSCAPE 200cm×250cm oil on canvas 2016
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任剑 REN JIAN
At the Present
THE STANCE IN CONTEMPORARY ART
当代艺术下的“在现在”立场 撰文：任剑 Written by Ren Jian
当代艺术的发展过程同样是艺术不断大
he development of
众化和被消费的过程，资本运作模式的介入
contemporary art is a process
更使得当代艺术充满浓厚的商业味道。艺术
where art is continuously
的生产方式更加工业化、品牌化、样式化，
popularized and consumed.
艺术家、画廊、媒体形成了一个相互利用的
The intervention of capital
经济体。在这样的组合中，主体是资本，媒
operation mode further instills contemporary
体是同谋，而艺术家是被边缘化的。
art with commercialism. As a result, the
在经济社会中，艺术品具有商品的特征
production of art becomes more industrialized,
无可厚非，但艺术品有别于一般意义的商品，
branded and conventionalized, with artist,
其价值所在是它的精神性、原创性和作品的
gallery, and media forming an economic entity
唯一性。而当代艺术的市场模式是一种依赖
of mutual utilization. In this combination,
资本的营销模式。投资回报率和市场价值最
capital is the subject, media being the
大化成了艺术的终极意义，甚至成为了评判
conspirator while artists are marginalized.
艺术的标准。在这场追名逐利的竞赛中，艺
It is beyond reproachable that artworks
术家或多或少丧失了自尊和道德判断。其作
should have the characteristics of commodity
品的精神性演化成一种乏味的装腔作势，原
in an economic society, but unlike commodity
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《和风景》布面油画 WITH LANDSCAPE 180cm×150cm oil on canvas 2014
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创性被复制所取代，艺术家基于市场有针对性的
in general terms, the value of artwork lies in its
Contemporary art is becoming more and more
“研发”，各类品牌化、样式化的艺术产品不断推出，
spirituality, originality and uniqueness. However,
like a show whose threshold is so lowered as to admit
青春残酷、怀旧、卡通、情色轮番上演，疑似于工业
the market model of contemporary art is a marketing
anyone. The revelry ends with audiences leaving
流水线似的标准化工作方式被很多艺术家大量的采用，
one dependent on capital, and therefore, return on
with what they need and artists finding souls lost.
长期保持题材和语言风格的统一成为一种“必须”。
investment and maximization of market value become
At such times, artists who remain calm start to re-
无论画廊还是艺术家，都在这样的市场潜规则里痛并
the ultimate significance and even judgment standard of
examine contemporary art, contemplating on how
快乐着。作为艺术家个体而言，图式和语言的大量重
art. In this fame-and-money-chasing competition, artists
to get contemporary art to return to art itself, how
复降低了作品原有的生命力和精神品质，也丧失了艺
lose, more or less, self-esteem and moral judgment. The
should artists rebuild thoughts and truly confront
术品应有的唯一性特征。
pursuit of spirituality becomes a tedious and pretentious
their inner world. Art is the carrier of spirit, so in
所以，当代艺术彻彻底底被异化了。首先是“被
gesture, and originality is replaced by replication.
this sense, the occurrence of art is the materialization
批评”，艺术家对于批评家在话语权上的妥协无非是
Conducting targeted “research” based on market, artists
of an artist’s independent spirit. An artist should
看到了“被批评”之下潜在的市场推动力。其次是“被
launch all kinds of branded and conventionalized
never lose his value judgment, nor should he lose the
购买”，资本的巨大作用使得当代艺术呈现了空前的
artworks themed on nothing but youth cruelty,
primitive passion for art. The expression should be
繁荣，不断刷新的拍卖纪录刺激着艺术家脆弱的神经。
nostalgia, cartoon and even erotica. A standardized
derived from personal feelings rather than deliberate
看着一个个原本租住在农家小院的艺术家都盖起了自
work mode reminiscent of the industrial assembly
ingratiation. This is an “at the present” stance which
己的豪宅，“被购买”似乎成了每个艺术家都在做的
line is adopted by a large number of artists, and the
emphasizes the importance of personal experience
发财梦。还有，“被时尚”，商业上的成功使得艺术
unification of subject matter and language style for a
to art. Personal experience here refers in particular
和艺术家不再像以往那样沉默，华丽转型成为时尚明
long time becomes a “must-do”. Both galleries and
to an artist’s life experiences, cultural attitude and
星。雨后春笋般出现的各类艺术媒体更是迫不及待过
artists suffer while enjoying in such hidden rules. For
mental disposition. The maintenance of relative
来赶场，无论是来分一杯羹还是蹚了一趟浑水。在这
the individual artist, continuous repetition of schema
independence of personal experience will empower
样的推波助澜下，似乎时尚成了当代艺术的新外衣。
and language not only lowers the intrinsic vitality and
an artist to withstand temptation and disturbance from
spirit quality of the creation but also deprives artworks
surrounding environment. After all, freedom is not
of its indispensable uniqueness.
doubt the most precious for artists. What’s worth to be
当代艺术越来越像秀场，且廉价到什么人都可以 来玩，大家各取所需，高潮过后剩下的是艺术家迷失 的灵魂。所以，冷静的艺术家开始重新审视当代艺术，
In this sense, contemporary art is completely
noted is that an independent stance is not manifested
当代艺术如何回归艺术本体，艺术家如何重塑思想并
dissimilated. First is the potential benefit of “being
by criticizing all kinds of sociocultural phenomena,
真正面对所处的精神世界尤为重要。因为艺术是精神
criticized”, the market driving force behind which
and acknowledgments of contemporary culture and
的载体，从这个意义上说艺术的发生是艺术家独立精
drives artist to make compromises on critic’s right of
commercial society do not equal to “kitsch”.
神的物化。艺术家不能失去自身的价值判断，不能失
speech; second is the power of “being purchased”,
The significance of contemporary art as a cultural
去内心对于艺术原始的热情。表达源自于切身感受而
for immense effect of capital endows contemporary
phenomenon has far surpassed the scope of art itself.
非刻意迎合。这是一种当代艺术下的“在现在”立场。
art with unprecedented prosperity, and continuously
Its development is a process of institutionalization,
强调个人经验对于艺术的重要作用。这里的个人经验
refreshed auction records keep stimulating artists’
during which different parties come to power by turns
特指艺术家自身的生命感受、文化态度和精神性格。
tender nerves. Looking at peers moving from rented
to take a share in the pie and gradually gnaw away the
保持个人经验相对独立性便可抵御来自周围的诱惑和
houselet to self-built mansion, every artist desires to
inherent “revolutionary nature” of art. This will lead to
干扰。毕竟，自由对于艺术家来说是最最珍贵的。当然，
make a fortune through “purchased” artworks. Third
the change of rules and eventually, reshuffling is just a
对于社会文化现象时刻保持独立的立场并非单纯的拿
is the charm of “being fashionable”: commercial
matter of time.
批判说事儿。对于当代文化和商业社会的认同也不等
success turns artists from silent creators into fashion
于“媚俗”。
stars, whose publicity is fueled by the springing up of
同时，当代艺术作为一种文化现象其意义已远远超
various art media impatient to capture headlines, no
出了艺术自身的范畴。其发展的过程也是其不断形成
matter whether they end up having a finger in the pie or
体制化的过程，大家轮流坐庄分享这块大蛋糕的同时，
wading in the muddy water. Under the influence of the
也逐渐蚕食了其起初的“革命性”意味。这终将会导
fire and the fan, fashion seems to become the new coat
致游戏规则的改变，重新洗牌只是时间的问题。
of contemporary art.
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《和风景》布面油画 WITH LANDSCAPE 150cm×150cm oil on canvas 2014
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《和风景》布面油画 WITH LANDSCAPE 100cm×100cm oil on canvas 2014
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PROFILE
我和我的“莫奈花园” 去过巴黎的人不一定去过莫奈花园 , 毕竟那只是 巴黎郊外一个不起眼的小镇 , 而对于我 , 却不一样。 不同于一般法式园林的奢华和规矩 , 莫奈花园显 得浪漫和自然 , 甚至有些东方的气息 , 在园子的每一 处都仿佛看到莫奈作品的影子 , 不禁感叹这个历经百 年的园子似乎从来没有变过 , 而荷塘里正在打扫杂物 的工人 , 又让你觉得园子的主人似乎还在 , 而且从来 没有离开。 我坐在那个熟悉的绿色小桥对岸 , 装模作样地想 象像当年的莫奈一样画画 , 倒是引来不少游客过来合 影 , 心里想咋就没人丢下一两块硬币呢。恍惚间让我 在历史和现实之间穿梭 , 那一刻 , 很兴奋 , 也很安静 , 没有想象中的崇高和膜拜 , 倒像是在一个平常日子里 去看望一个多年不见的朋友。
《莫奈花园》布面油画 JARDINS DE MONET 60cm×70cm oil on canvas 2015
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《莫奈花园》布面油画 JARDINS DE MONET 60cm×80cm oil on canvas 2015
《莫奈花园》布面油画 JARDINS DE MONET 120cm×90cm oil on canvas 2015
任剑于 2017 巴黎大皇宫艺术沙龙个人作品前 Ren Jian taken photo with his own work at the Grand Palais in 2017
《莫奈花园》布面油画 JARDINS DE MONET 120cm×130cm oil on canvas 2016
Me and my Jardins de Monet Located in the outskirt of Paris, Fondation Claude
I sat on the other side of the familiar green bridge,
Monet may not be a tourist destination when people visit
pretend to imagine and paint like Claude Monet, and
Paris. For me, it’s totally different.
attracted many tourists over for photos. I thought why no
Unlike the usual French garden of luxury and rules,
one left one or two coins? It confused me with the history
Monet's garden is filled with romance and nature, and even
and the reality all of a sudden. That moment, I was thrilled,
a bit of oriental vibe. In every corner of the garden as if to
yet very quiet. It did not bring the lofty and worship, but
see the shadow of Monet’s work, it seemed it hasn’t been
rather like visiting a friend not seen for years on a normal
changed in over a century. The worker was cleaning debris
day.
of the pond, made you feel that the owner of the garden seemed never left.
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《目击者》监视摄像头、木杆、水泥 装置 WITNESSES surveillance camera, wood, cement installation 2016
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伍朝艺 STORMY WU
Anthropocene 人类纪再认知的践行 撰文：伍朝艺 Written by Stormy Wu
标题中人类纪一词来源于英文
nthropocene is a period age which means
Anthropocene， 指 的 是 一 个 拟 定 的 时
people have the power to control and change
代，认为人类已经对地球产生了全部
the Earth. If this age already came, we should
的影响并且有能力改变。如果这个时
have a new understanding of ourselves and
代已经到来，我们拥有的时间，应该
this world to find a right direction. Art must
从自我有一个新的认知，从而向更好
be the leader of all human’s works. My works come from my
的方向发展，艺术更应该作为开拓者，
understanding of people, and come with my attitude towards the
去引发积极的改变。我的作品都来源
society. Many people believe art is only an aesthetic behavior, but
于对人的解读，有一定导向性的改变。
I believe that art is a revolution to change life into a batter world
很多人将艺术行为作为一种表达，观众
by art experience. What drives me to create art is my deep love
行为为审美，而我更认为艺术行为是通
of life, I care about people; I care about how they live, how they
过艺术经历进行的一场改变，观众是
treat each other and how they treat the society that builds by us.
参与和感受改变的群体。对于生活的
If anything about others doesn’t matter to me, how could I exist
热爱是我创作艺术的来源，用我的作
within the society? If I exist, the thinking expressed by my work
品去发现那些容易被人们忽视的问题，
is the evidence that I exist. My work is inspired by the things that
提出一些让人反思、积极的相处方式。
happened in society. Usually, these involve different culture.
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《白色物品》尺寸可变 生活物品、白油漆 装置 WITNESSES surveillance camera, wood, cement installation 2016
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我与我未婚妻沈雨晴在洛杉矶的这几年，
涂抹某个日常用品，去除标签上所有信息，人
我从事当代艺术，她从事艺术管理，我们经常
不再受到标签信息的影响，创造可以通过原始
穿梭于不同的画廊与博物馆之间。洛杉矶有
感官来了解事物的过程，像婴儿，像人类最初
841 个博物馆和画廊（根据维基百科），在我
始阶段，通过探索，接触，尝试重新认知事物。
看来，如果想要了解和学习当代艺术，画廊比
运动传感灯应用在这个作品中，当观众走进展
博物馆更有意义。一个画廊，像一个独立的个
厅，它会照向观众和作品，作品在墙上形成城
人，用自己的眼光选择展览的艺术作品。从贝
市的剪影，观众的影子也融入其中，再认知的
弗利（Beverly Hills）到卡尔弗城（Culver
概念通过观众在作品里的体验带入城市，让观
City），洛杉矶的艺术环境相比于纽约，有更
众有更深入的自我体会。
平等的交流空间，更开放的市场；相比于芝
我希望艺术能够更多地关联到普通人，尤
加哥，又少了老艺术社区的约束；在多元文化
其是当代艺术，这将让更多人在艺术作品或装
的氛围下，艺术的交流变得简单，有趣，丰
置艺术的经历中找到自己的思考。我在创作过
富。多元文化交错的社会，让我更加意识到
程中通常会选择日常常见的材料，比如透明塑
认知的重要，我的作品《白色物品》（White
料，透明白布，在重塑它们形态与形式的同时，
Things）、E.P. 等，无一不强调了认知的重要，
在作品中表达观点，不被过于夸张的形式影响
并且是再认知（re-recognize）。《白色物品》
信息在作品中的传递。另一方面使用简洁的颜
探讨了人们与日常用品的关系。我用白色油漆
色和材料，我希望作品保持简单，让其不只是
During the period of time I live in Los Angeles
My installation White Things insists on its connection
visual and physical experiences to understand these
with my fiancĂŠe Yuqing Shen, I work on contemporary
to ordinary people. It reveals my point of view about
relationships differently.
art and she practices arts management. With the
the relationship between people and common things.
I want to make art that connects with ordinary
passion for art, we visit different galleries and
It is about social cognition. In it, people things in
people. This will allow more individuals to find their
museums frequently. There are 814 museums and
various ways. I removed all information from the labels
own reflections in art. I believe art cannot exist without
galleries (according to Wikipedia) in LA, I think
of common products. This allows us to re-recognize
people and people play the main role in art. I use
that galleries are more important than museums in
things by our original senses because viewers are not
common objects in my work. The material that I most
terms of learning and understanding contemporary
guided by the information on the products. Like babies,
frequently use in my work is clear plastic or transparent
art. Each gallery represents an individual, choose
we might know everything by touch and taste. I used
fabric. I use it in unexpected ways, plastic sheets
artworks and display artworks based on personal
motion sensor lights. The light turns on while people
transmit my point very clearly. I also like the feeling of
insight. Galleries from Beverly Hills to Culver City,
walk into the gallery. Shadows of people become part
purity, just like the relationship between people and the
the art scene in LA is more equality and freedom than
of this installation. The shadow of this installation
world should be very clear and without any influence
New York, also has less control from traditional art
looks like a city. People will have different views when
by subjective desire. The reason why I want my pieces
district than Chicago. Influenced by the multi-culture
they trigger different lights. The things we use in daily
to be simple, without color or unusual materials, is I
environment, communications on art becomes simple,
life should be re-recognized by us. The same is true
want my work to not only produce visual enjoyment
entertaining and colorful. I became more aware of the
of the city we are living in, the people we are meet,
but also to generate spiritual enjoyment. In my opinion,
importance of cognition in the multicultural society.
and the environment. My installation creates different
art should be something from daily life but above our
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《EP》 透明布料、投影仪、pvc 管、鱼线 视频装置 时长 5 分钟 EP ming cloth, projector, PVC tube, fishing line video installation 5minutes 2017
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视觉上的享受，更引发精神上的思考。 另一方面，光是非常重要的，它成为作品故事的讲述者。
common understanding of life. It reflects social classes and various cultures, but it also invites deeper thinking.
通过光，作品在空间里延伸。运动感应与灯光结合，在观众进
Lighting is important to my work. The eye sees things
入展厅的第一时间将本能的动态与作品互动。对我来说，光线
differently because of light. I believe light is the most important
传达了更多“信息”，图像在作品中产生清晰或模糊的影像同
element. Light can give viewers a primordial feeling. It is
样重要于整体作品环境的创造。原本只是普通的物件，直到人
essential. First of all, I use motion sensor lights in my work.
们开始谈论和思考它，它才成为所谓的艺术，当代艺术的装置
Then allow viewers to get involved with my work in a physical
作品更是如此。艺术作品自身不能自足，思想的融入是必需的，
way. And my work responds to them in a visual way. Secondly,
而思想并不仅仅是艺术家的自我表达，还包含观众对其产生的
I like to use projectors, because the light from them has more
反馈和影响，我认为至少当代艺术装置是这样的。作品与观众
“information”, whether the image is clear or blurred. Both are important. This process suggests I am using lights to tell stories. It is important that my work connects with the entire environment. Art is not art until people start to talk and think about it. Until then, a work is just a thing in the gallery or museum or studio. Art cannot be selfcontained. The thought is required. I invite viewers to involve in my work. For example, my installation E.P. is made with plastic sheets and fishing line. The projections on the plastic sheets depict crowds. Viewers can walk among the sheets of plastic. When they do that, they become a part of my piece. A contrast between real people and the virtual crowd arises. This triggers thinking about how to face unfamiliar people and cultures. It also relates to my other works. Globalization allows people to get close.
的交互性显得越来越重要，在我的工作中，考虑如何让观众与
This invites us to think about how we recognize the world.
作品交互，以产生个人的感受是重点。在作品 E.P.(Ephemeral
Interaction is important in my installation because it makes more
Phosphene,《短暂光幻视》) 中数百条熟料条悬挂在展厅，在
people involved my work. This is the most direct way to make
其间留有人可经过的空间，塑料条上的投影显示着世界各个城
art become the bridge to connect audiences and my ideals.
市的人群，光线沿着作品的表面，沿着空间向纵深处传递，观
My piece for the second year show is a follow-up to White
众走在作品其间，真实的人和影像里的人相互交织。这种近距
things. I edited a video to fit into White things and projection on
离的面对，首先带来的是陌生感，刻板印象往往将陌生感加强，
White things. The video comes with two parts, one is the origin
再认知的过程就显得重要。这个作品成为我的想法和观众直接
image, which comes with products from the factory, and another
沟通的桥梁。
part is “wrong” images fit into the shape of products. This piece
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《光魔方》PVC、木板、4 台投影仪 装置 LIGHT MAGIC CUBE 1.2m×1.2m×2.4m PVC, wood, 4 projectors installation 2016
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《投影白色物品》生活用品、投影仪、PVC 视频装置 时长 2 分钟 PROJECTED WHITE ITEMS life goods, projector, PVC video installation 2minutes 2016
2016 年下半年的一个作品，是《白色物品》的延伸。我
is still about social cognition, but it comes with new experience of common objects. “Wrong”
做了一个视频，视频中符合物品形状的部分放入“错误”的
images give us a chance to think about these products in another way, which you cannot
形象，然后将视频投影到《白色物品》上。对于熟悉的对象，
tell it is wrong or right. Usually, we already have a memory of things. When I change the
我们已经有了记忆，当这些对象的画面产生变化的时候，“错
image of products, people’s understanding of the thing might change. For me, the identity of
误”形象非常真实地出现在物品上，改变我们对它们的判断。
products never change, so I believe that we should re-recognize things by our original senses.
是什么让我们对其产生认知，视觉？还是原有记忆？物品内
The appearance is never true or false. It relates both to common objects of consumerism, and
在的性质是没有改变的，所以我相信在认知事物的过程中，
the truth of how we recognize and understand different cultures and people.
原始的感官是重要的，探索是重要的。外表没有对与错，而 认知方式的选择，能决定我们对事物了解的深度。
I am interested in all kinds of relationships among people, specifically in different cultures and countries. I want my art to emphasize something I think is important or
有人说洛杉矶的日落是最美的，橙红色的云彩向高处的深
something we ignore. This extends beyond the gallery to the larger environment of nature. A
蓝延伸。一次偶然的生活经历，让我突然感受到，也许同样
piece I made, has four sides of clear plastic on the top as screens and four projectors inside.
是这样的色彩，在天空中不一定是象征着美丽，也可能是死亡。
One video depicts a sunset; another one shows an explosion. These two videos project
在作品《魔方》中，我用透明 PVC 板，在木质结构的基座上
blurred images on the wall with similar colors orange and red. The idea of this piece gives
设立了一个透明的魔方，内部有四台投影仪，相互交错投影
the experience that you can see the color made by nature and the color made humans. It
到半透明的 PVC 板上。视频则有两段，其中两台投影的是日
relates to many social issues, like violence, terrorism, and even air pollution. This piece
落的美景，另外两台投影的是，中东地区爆炸的新闻图片。
contributes to the thinking about how color affects to people and arouses questions about
两段影片在半透明的 PVC 上都留下红色，橙色，蓝色和相类
social issues.
似的形状，透过 PVC 延伸到远方展厅四周的墙并形成模糊的
An artwork is not independent object in the gallery. Your body interacts with my pieces
画面。在同样的颜色和形式里，一边是洛杉矶唯美的夕阳，
to re-recognize yourself and your relation to objects and others. In this experience, your
颜色来源于自然；另一边，是爆炸的现场，颜色来源于人类。
body is independent of everything else but your awareness. Your awareness of moving, your
视觉相似却创造了极大的心理反差。在去年的一次展出中，
vision, and tactile sense come together into my artwork and you have your own experience.
很多美国人都感叹，从未想过这样日常的美景，在世界的另
All my pieces are talking about personal associations and engaging people. I use common
一边是完全不同的感受。
consumable products in my work to represent the relationship of things to people in daily life
艺术品不是作为独立的作品在展出，观众与作品产生交
versus in an idealistic situation. These stories are not only between ourselves and ordinary
流，他们的意识、动态、视觉和触感融于作品，并得到新的认知。
things, but also between other people. We live in a cross-cultural age, how we govern and
艺术可以很好地将日常生活延伸到理想主义的状态，我的作
how we make ourselves aware of each other are important concerns of mine. I want my
品创造重新认知的环境，而观众与作品的交互，慢慢延伸至
artworks to have more interactivity with people and affection people. At least, I hope my
每个人的个人生活，在人类纪。
work can give people a chance to understand art, the world, and themselves more fully.
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《真的马？不是马！》布面油画 HORSE ? NOT A HORSE ! 150cm×100cm oil on canvas 2016
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张钊瀛 ZHANG ZHAOYING
Restoration of the Site RETRACING THE ARCHETYPES OF THE UNCONSCIOUS
“恢复现场” 回溯无意识的原始意向 撰文：张钊瀛 Written by Zhang Zhaoying
我在做作品时经常使用“剧
uring the process of artistic creation,
场”与作品形成关系（我称为剧
I often employ the bond between
场再现）的方式，使观众迅速
theater and work (or what I refer
进入一个陌生的非常规环境中，
to as the “reproduction of the
这种对场域的自我设定能让观
theater”) to throw the viewers into
众对我的作品产生一种最原始
an alienated, unconventional space in a blink of the
的反应，而这种反应有利于传
eye. The predesignated field would generate a primitive
达作品的深刻性，也有利于引
response from the audience which facilitates the delivery
发观众对作品的思考。
of artistic depth and the provocation of some thoughts.
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集体无意识与艺术有着某种微妙的关系 , 这里
When we talk about the subtleties of the collective unconscious and art, we cannot
不得不提瑞士心理学家、分析心理学创始人荣格，
skip over the mentioning of Jung Carl Gustav - a swiss psychologist and the founder
他在《论分析心理学与诗的关系》一文中提出，集
of analytical psychology. In On the Relation of Analytical Psychology to Poetry, he
体无意识是指由遗传保留的无数同类型经验在心理
elucidates the term “collective unconscious” - the genetically inherited unconscious
最深层积淀而成的人类普遍性精神。他还认为人的
psychic material in the deepest mind accumulated by the experience of all preceding
无意识分为个体的和非个体（或超个体）两个层面。
generations and common to humankind. Also, he divides the human unconsciousness
前者是由冲动、愿望、模糊的知觉以及经验组成的，
into the individual and collective spectrum, the first consisted of impulses, desires,
只到达婴儿最早记忆的程度；后者则包括婴儿实际
vague awareness and experience not exceeding the earliest memories of an infant,
记忆开始以前的全部时间，即包括祖先生命的残留，
while the latter comprises of all the residues of our ancestors’ psychic life identical to
它的内容能在所有人的心中找到，带有普遍性，故
all individuals, prior to the formation of an infant’s actual memory, and thus is coined
称“集体无意识”。
as “the collective unconscious”.
我认为“剧场”对于表达集体无意识的原始形
The theater, I presume, is of vital importance to delineating the primitive forms
态尤为重要，其现场性有助于回溯无意识的原始意
of the collective unconscious. Its attribute of being on the site helps in restoring the
象，同时有助于艺术家对艺术作品进行深层挖掘。
archetypes of the unconscious and in the artist’s exploration of the work at depths.
它所产生的效果，可以使人们看到人类原始意识的
In the field of the theater, the viewers can see the archetypes of preexisting human
原始意象或听到人类原始意识的遥远回声，并形成
consciousness or hear the distant echoes of primitive psychic life, when epiphany
顿悟，产生美感。
dawns and aesthetics arises.
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《黑暗剧场——哥特改编史》系列 布面油画 DARK THEATRE - GOTHIC ADAPTATION HISTORY series 200cm×180cm oil on canvas 2014-2015
很多人在质疑中国身份或中国符号，认为中国
Nowadays, many question the identity or symbols of China in the belief that
艺术家要寻找自己的东方符号，而我所来自的广州，
Chinese artists must search for their own symbols of the oriental. Nonetheless, my
东西方文化交融，教堂、西式碉楼随处可见，歌剧、
hometown Canton is a culturally hybrid city where the East meets the West, with
戏剧轮番上演，是一座“混血的城市”。所以我认
pervasive images of churches, western arcades, operas and dramas. The hybridity is an
为这种“混血”状态，是中国艺术家意识中不可回
actual fact that cannot be eschewed in the consciousness of the Chinese artists, or at
避的事实，起码我觉得这和我的真实状态密切相关。
least I myself feel it deeply considering my living circumstances.
我觉得当代艺术界的很多朋友比较喜欢做一种
Many of my artist friends are in special favor of the subtraction game aimed at
清理和简化的减法游戏，当我看到这个游戏的时候，
purging and simplifying. It leads me to the idea that whether we can go a completely
我在想是否能做一种加法游戏，或许这种加法会创
different way by doing the addition game, which might hold out the promise of new
造一种新的可能。我一直对戏曲和戏剧艺术比较感
possibilities. My interest in opera and drama stand firm ever since a long time ago,
兴趣，其实“剧场”为这些艺术提供了更丰富的表
and the field of theater extends the expressions of art. I see the urgency in exploring
达方式，我觉得现在非常需要去摸索一种新的关于
a new form of art on the basis of the theater. Certainly today there are people already
戏剧的艺术方式，当然现在也有艺术家在做将舞台
attempting the combination of stage and art. It opens an artistic discourse where I try
与艺术相结合的工作，我也在尝试进入这个语境去
to harvest a narration.
完成叙事的过程。
Let me introduce some of my works about the theater during my creative career:
下面介绍一下我创作生涯中几个关于剧场的 作品：
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《泰坦之宴 NO.1》布面油画 FEAST OF TITANS NO.1 120cm×200cm oil on canvas 2013
《泰坦之宴 NO.2》布面油画 FEAST OF TITANS NO.2 120cm×200cm oil on canvas 2013
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《泰坦之宴 NO.3》布面油画 FEAST OF TITANS NO.3 200cm×120cm oil on canvas 2013
《泰坦之宴 NO.4》布面油画 FEAST OF TITANS NO.4 200cm×120cm oil on canvas 2013
《泰坦之宴》综合装置 FEAST OF TITANS 200cm×120cm×3pieces integrated installation 2013
《泰坦之宴》是一场为抓到巨人而举行的宴会，通过人们在晚宴中的各种残忍举动表现人性的扭曲 畸形，从而投射出现实社会中“人吃人”的现象。画中的巨人瘫坐着 , 无论肢体、神情 , 都无比疲惫 , 仿佛再也无力撑起那庞大的躯体。每个人心中都有一个巨人 , 都想成为这样一个巨人 , 为此可能要付出 代价 , 可能会遍体鳞伤 , 也可能过于疲惫以至于需要一个指引者来沟通，需要生命的一个轮回。 每个人都是凡人，普通人获得成功便成为英雄，而英雄倒下便回归凡人。若能再一次走到辉煌就便 又成巨人，归根结底，巨人本是凡人，他的创世纪狂想使他不朽，但他也无法承受世界给他的压力。今天， 整个社会都面临这个问题。
F e a s t o n Ti t a n d e s c r i b e s a b a n q u e t
life is in wait of a new cycle.
celebrating the capture of the Titan, where
All is flesh. An ordinary folk becomes a
the guests' cruelty exposes the distortion and
hero through success, and once fallen, the hero
deformation of human nature, and further reminds
would return to a common life. Those who can
us of the dog-eat-dog reality of our society. The
strikes back towards glory and splendor once
Titan sits down slumped with his obviously weary
again is crowned the Titan. It all boils down
face and worn-out trunks, seemingly unable to
to the conclusion that a Titan comes from the
hold up his giant body. A Titan there is deep
mortal. His fantasy of the Genesis would win him
down the heart of each and every one of us, who
immortality, but the pressure the world charge
dreams to become a giant one day no matter what
upon him would be unbearable. Such is the
price we have to pay. Along the way, we might be
dilemma that stands in front of everyone in our
beaten badly, or we might be so utterly exhausted
society.
that a guide is needed for instruction, and that our 《泰坦之宴》（局部）综合装置 FEAST OF TITANS (detail) integrated installation GALLERY MAGAZINE
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《黑暗剧场三部曲》布面油画 DARK THEATRE TRILOGY 20cm×30cm×64 pieces oil on canvas 2014-2015
《黑暗剧场三部曲之十三》布面油画 DARK THEATRE TRILOGY NO.13 20cm×30cm
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oil on canvas 2014-2015
《黑暗剧场三部曲之十四》布面油画 DARK THEATRE TRILOGY NO.14 20cm×30cm
oil on canvas 2014-2015
《引爆，一天一新闻系列 2》布面油画 EXPLODE,ONE DAY ONE NEWS 120cm×90cm oil on canvas 2014
随着社会大生产与社会成员与国家
As the socialized mass production grows in subtlety and
乃至国际的关系越发微妙甚至暧昧，这种
ambiguity regarding its relationship with every social member,
集体无意识的追溯，也许值得我们深思 ,
the nation, and even the whole world, the tracking of the
我利用一日一张画这样的日记形式去呈
collective unconscious is worthy of careful pondering. Day
现一种近乎爆炸性的信息量，让人们在不
after day, I take a daily record of the nearly explosive messages
知不觉中，感受到这一个月内，在国际
around us with paintings, so that people, who pass their days
上或我们身边竟发生了如此巨大的变化。
without much consciousness, can feel the gigantic change
一个月的时间，也许不长，但我把国际上
domestically or internationally within the span of a month.
的新闻组织起来，以日记的形式去记录，
Not long a time it is though, the massive information carried
所呈现出的巨大信息量，也许值得我们思
in the daily news updates on the whole world still deserves our
考时间与事件间的暧昧关系。
thoughts about the ambiguity of time and events.
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Passions of Silence
《魔尊 2》布上油画 两联 NOBLE DEVIL NO.2 220cm×600cm oil on canvas 2016
平静的汹涌 —— 读杨锴的画
撰文：彭锋（北京大学艺术学院副院长、第 54 届威尼斯双年展中国馆策展人） Written by Peng Feng ( the Vice President of aesthetics of the School Of Arts, Peking University, a curator of the China Pavilion in the 54th Venice Biennale)
杨锴的画很难归类。从他的作品中，可以分析出许
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ang Kai's paintings are hard to classify.
多风格或手法：涂鸦、表现、色域、抽象、超现实、卡通、
From his works, many styles or
写意……但是他将这些风格成功地糅合起来了，形成了
techniques can be analyzed: graffiti,
自己的风格。
performance, color gamut, abstract,
这让我想起丹托（Arthur Danto）的风格矩阵。丹
surreal, cartoon, freehand brushwork,
托指出，在艺术界中，如果一种风格成立，与它相反的
and so on. But he successfully blends these style together
风格也会成立。例如，如果再现是一种风格，非再现也
and forms his own style.
自动成为一种风格。艺术界的作品，就是不同风格的排
This reminds me of Arthur Danto's style matrix.
列组合。例如，如果艺术界的主要风格是再现和表现（构
Danto pointed out that in the art world, if a style was
成矩阵的纵栏，可称之为大风格），那么就能组合出四
established, and its opposite style will be established.
种风格：再现 + 表现、再现 + 非表现、非再现 + 表现、
For example, if the representation is a style, the non-
杨锴
非再现 + 非表现（构成矩阵的横栏，可称之为小风格）。
representation automatically becomes a style. The work
如果是三种大风格，就会组合出八种小风格。丹托自己
of the art world is the arrangement and combination of
YANG KAI
用样式主义、巴洛克、洛可可对此做了说明，很有启发。
different styles. For example, if the main style of the art
我借用丹托的矩阵，用再现、表现、写意作为大风格，
world is the representation and performance (It composes
《孤独》布上油画 两联 LONELY 120cm×320cm oil on canvas 2016
《众神与玩偶 9》布上油画 两联 GODS AND DOLLS NO.9 100cm×400cm oil on canvas 2016
《微微一笑很倾城》布上油画 两联 A SMILE IS BEAUTIFUL 220cm×600cm oil on canvas 2016
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《时间煮雨 3：两种死亡之间》布上油画 两联 TIME TO COOK RAIN NO.3: BETWEEN TWO DEATHS 100cm×400cm oil on canvas 2016
组合出了八种小风格，用它们来概括中国当代绘画，
the columns of the matrix and can be called a great
style in the rows. I call this art the art of traditional
也具有较强的解释力。当然，艺术界的大风格既不限
style), you can combine four styles: representation and
Chinese medicine. Today, in the case of not increasing
于三两种，可以更多。只要在风格矩阵的纵栏中增加
performance, representation and non-performance, non-
the variety of medicinal herbs, through the different
一种大风格，它的横栏中的小风格就会成倍增加，由
representation and performance, non-representation
combinations of them, you can also create new drugs.
此艺术界的风格会更加复杂。在丹托看来，能识别的
and non-performance (It composes the rows of the
Herbs seem like the great styles that occupy the
风格越多，对任何一种风格的理解就越深。对于鉴赏
matrix and can be called a small style). If it is the three
columns, and the new drugs seem like the small styles
家和批评家来说，一个重要的目标就是识别风格。对
great styles, it will be a combination of eight small
that occupy the rows.
于艺术家来说，创作的使命是将历史上出现过的不同
styles. Danto himself illustrated that with Mannerist,
Although Yang Kai's creation is not in the
风格组合成为自己的新风格。在丹托看来，当代艺术
Baroque, Rococo and it was very enlightening. I use
inspiration of the matrix theory, analyzing his works
已经进入了艺术的后历史阶段，纵栏里的大风格已经
Danto's matrix, with representation, performance,
with the matrix theory can also explain some of the
被全部展示出来，剩下的可能就是对横栏里的小风格
freehand brushwork as a great style, to combine eight
problems. This explains from another perspective that
的揭示了。我将这种艺术戏称为“中药铺艺术”。今
small styles and used them to summarize the Chinese
Danto's theory has a certain universality. The art of
天在不增加药材品种的情况下，通过对它们的不同组
contemporary paintings. It also has strong explanatory
today, at least in the field of painting, is not possible
合，也可以制作出新药。药材像占据纵栏的大风格，
power. Of course, the great style of the art world is
to appear the great style of the columns, so the rest is
组成的新药像占据横栏的小风格。
not limited to several kinds, can be more. As long as
as far as possible to make the small style in the rows
尽管杨锴的创作并不是在矩阵理论的启示下进行
to add a great style in the columns of the style matrix,
be implemented. However, to ensure the small style
的，但是用矩阵理论来分析他的作品也能说明部分问
the small style in the rows will be increased manyfold,
of your own realization is new, you need to know
题。这从另一个角度说明，丹托的理论具有一定的普
then the style of the art world will be even more
more great styles showed out in history. In this sense,
遍性。今天的艺术，至少在绘画领域，已经不可能出
complicated. In Danto's views, the more styles being
the artists of today must be art historians or cultural
现占据纵栏的大风格，剩下的就是尽量将横栏里的小
recognized, the understanding of anyone style would be
anthropologists, the more styles of work they know,
风格实现出来。但是，要确保自己实现的小风格是新的，
better. For connoisseurs and critics, the identification
the more advantages they would have in creation. Yang
就需要知道更多的历史上展现出来的大风格。从这种
of styles is one of their important goals. For artists, the
Kai was an undergraduate student in the Oil Painting
意义上来说，今天的艺术家，都必须是艺术史家或者
mission of creation is assembling their new style with
Department of Guangzhou Academy of Fine Arts,
文化人类学家，知道的作品风格越多，在创作上就越
different styles ever appeared in history. In Danto's
and later entered the Experimental Art College of the
有优势。杨锴本科就读于广州美院油画系，后来进入
views, contemporary art had entered the post-historical
Central Academy of Fine Arts to study master. The
中央美院实验艺术学院攻读硕士，学院教育给了杨锴
stage, and the great style in the columns had been
college education gave Yang Kai good painting skills
良好的绘画技艺和知识修养。
displayed, the rest might be the revelation of the small
and knowledge accomplishment.
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《丰满的骨干》布上油画 两联 PLUMP BACKBONE 100cm×400cm oil on canvas 2016
但是，艺术不只是风格组合的游戏。换句话说，
However, art is not just a game of the combination
Chinese culture, bone is not a derogatory term, and
艺术不只是艺术圈的内部事务。我戏称丹托的后历史
of styles. In other words, art is not just the internal
the pursuit of the bone is a higher pursuit. The moral
阶段的风格组合艺术为“中药铺艺术”，其实就是想
affairs of the art circle. I call Danto's style combination
integrity pursued in life and the forcefulness of strokes
让它从艺术圈跳出来，进入社会生活之中。中药并不
art of the post-historical stage as the "art of Chinese
in art are parallel. Although what Yang Kai learned are
是不同药材组合的游戏，因为它有明确的社会针对性，
medicine shop", because I actually want it to jump out
painting and experimental art, he also has a profound
它针对的是疾病，它的目的不是游戏而是治病救人。
from the art circle and be into the social life. Chinese
understanding of China aesthetics.
杨锴的绘画，也有它的社会针对性。
medicine is not a game of the combination of different
However, the bone is essential and not much, and
杨锴喜欢画骷髅，骷髅通常被认为是死亡的象征。
drugs, because it has a clear social aim, and it is aimed
people who can appreciate the beauty of the skeleton
但是，对于在植物大战僵尸的游戏中成长起来的年轻
at the diseases, so its purpose is not the game but saving
do not account for the majority. Yang Kai usually
人来说，骷髅与死亡的联系已经不那么紧密。相反，
lives. Yang Kai's painting also has its social pertinence.
places skeletons in a large area of the homochromy, and
骷髅可以很骨感。骨感不仅真实，甚至也可以是美的。
Yang Kai likes painting skeletons, and the skeleton
show the loneliness of the bone. The skeletons in Yang
骨感的美，不是表面的美，而是本质的美。杨锴对骷
is usually considered a symbol of death. But in the
Kai's paintings are like the remains that the undersea
髅乐此不疲，我想其中一个重要的原因，就是他发现
views of the young people, who grew up with playing
volcano erupts and leaves on the sea, not beautiful
当代生活缺乏骨感。今天的社会如同巨大泡沫，表面
the game of Plants vs. Zombies, the connection
but can be relied upon. If a more violent outbreak is
繁荣，内心空洞，找不到可以支撑和依赖的骨气和骨力。
between the skeleton and the death is not so close.
in expectation, Yang Kai need to gather energy with a
刺穿虚假繁荣的泡沫，让生活着陆，已经成为时代潮流。
On the contrary, the skeleton can be very skinny. The
large area of homochromy.
事实上，在中国文化中，骨不是一个贬义词，对骨的
skinny not only true, it even can also be beautiful. The
追求是一种高级追求。在生活中追求的骨气与在艺术
beauty of being skinny is not the beauty on the surface,
中追求的骨法平行。尽管杨锴学习的是油画和实验艺
but the beauty of essence. Yang Kai paints skeleton all
术，但他对中国美学也有深刻的领会。
again. I think one important reason is the lack of skinny
但是，骨因为精而不多，能够欣赏骷髅之美的人
beauty he found in contemporary life. Today's society
也不占多数。杨锴通常将骷髅安置在大面积的单色之
looks like a huge bubble. Its surface is prosperous, but
中，更显出骨的孤独。杨锴画中的骷髅，就像海底火
there is an empty heart, and you can not find support
山爆发在海面上留下的残骸，不美却可以依靠。杨锴
and rely on the strength of character and the power of
需要大面积的单色来集聚能量，如果我们期待爆发来
bone. Piercing the bubble of false prosperity, to land
得更猛烈的话。
the life has become the trend of the times. In fact, in 《噩梦》布上油画 NIGHTMARE 120cm×180cm oil on canvas 2011
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Raging Waves
《解构 2》布上油画 三联 DECONSTRUCTION NO.2 200cm×200cm oil on canvas 2016
WITH NO REGRETS
无悔的狂澜 —— 关于杨锴和他的艺术 撰文：杨卫（著名艺术批评家与策展人） Written by Yang Wei ( Art critic, curator )
《笔》杨锚旧油画笔（笔身 600cm×100cm×10cm）尺寸可变 装置 PEN variable size old oil brush pen, ( pen size 600cm×100cm×10cm) installation 2015
杨锴不善言词，甚至说话还有点磕巴。这是不是构成他在
ang Kai is ineloquent, even speaks with a little stutter. Does it constitute the internal
艺术中不断寻找出口，强化画面中的表现性因素的内在原因
cause, which pushes he constantly to look for export in the art, to strengthen
呢？我不得而知，但杨锴在艺术中的自我表现，其强度和力度，
the expressive factors in the painting? I don't know. But the strength and power
在他这一代艺术家中确实是极为罕见。这种罕见首先体现在他
of Yang Kai's artistic self-expression are extremely rare among the artists of
对艺术的态度上，与许多年轻艺术家把工作与生活理性的加以
his generation. This rareness first reflects in his attitude to art. Being different
区分不同，杨锴几乎是把自己完全融入到艺术世界中，工作与
from many young artists who have a rational distinction between work and life, Yang Kai almost
生活形成了一个有机的整体。其次是他的画风，与年轻艺术家
completely integrates himself into the art world. His work and life forms an organic whole. Secondly,
普遍追求的小清新不同，杨锴不仅关注动荡的现实与激越的人
his painting style is unlike the small fresh which the young artists commonly strive for. Yang Kai
生，而且特别重视表达的率性和激情，强调画面的粗犷与雄浑。
not only pays attention to the turbulent reality and inspired life, also pays special attention to the
正是这些因素构成了杨锴与众不同的气质，也使他的艺术具有
willfulness and passion of expression, emphasizing the boldness and vigorousness. It is these factors
了强烈的阳刚之气。
that constitute Yang Kai's distinctive temperament, also make his art be with the strong masculinity.
杨锴出生于湖南，儿时的经历大概并不美好，他作品中溢
Yang Kai was born in Hunan, and his childhood experience probably was not good. The tension,
出的那种紧张、焦虑，以及忐忑不安的情绪，也似乎记录了他
anxiety and uneasy mood, which overflows from his works, also seems to record his growth process.
的成长历程。如果按照弗洛伊德的观点，童年成为一个人的引
If according to the views of Freud, childhood is someone's engine, then the unrest what Yang Kai
擎，那么，杨锴童年经历的这些动荡因素，也似乎影射了这个
experienced in his childhood, also seems to allude to the era of radical changes. In fact, Yang Kai had
剧烈变化的时代。事实上，成年后的杨锴也并非一帆风顺，尽
not all plain sailing after he becoming an adult. Even though he had his own profession and hobby,
管他有自己的专业与爱好，并以优异成绩考上了广州美院，但
and went to the Guangzhou Academy of Fine Arts with excellent grades, the stubborn and informal
倔强与不拘的性格，却使他另辟蹊径，走上了一条别出心载的
character made him a different approach, and take a unique and hard way. After graduating from the
艰辛之路。广州美院毕业后，杨锴曾驻留广州，做过一段时间
Guangzhou Academy of Fine Arts, Yang Kai used to reside in Guangzhou and have been a period of a
的职业艺术家。不过，强烈的艺术诉求与出走愿望，并没有使
professional artist. However, the strong artistic appeal and desire of departure didn't bring him peace
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《人造星球与宇宙》尺寸与数量可变 影像装置 （第三届 CAFAM 双年展参展作品） ARTIFICIAL PLANET AND UNIVERSE variable size and quantity video installation 2016 ( The third CAFAM Biennale Exhibition Works )
《千里江山图：桃花源》布面油画 三联 THE MAGNIFICENT RIVERS AND MOUNTAINS: PEACH COLONY 220cm×900cm oil on canvas 2015
《纠结》布面油画 两联 TANGLE 150cm×400cm oil on canvas 2016
他安心于广州，而是继续求学，最终以优异成绩考上了中央美
of mind in Guangzhou. He continued to study, finally went to the Central Academy of Fine Arts and
院实验艺术的研究生，实现了自己进军北京的人生宿愿。
became a graduate student of experimental art, then realized his life dream that marching towards Beijing.
杨锴报考中央美院时，曾多次找我给他提建议，我因此深
When Yang Kai was entering himself for the examination of the Central Academy of Fine Arts,
深地感受到了杨锴身上的固执与顽强，有种不达目的决不罢休
he repeatedly asked me to give him advice. So I deeply felt his adamancy and tenacity that he would
的气势。他那种不断向上的激情，以及对自己的高标要求，都
never give up to achieve the goal. His passion for moving up and high self-requirement moved me
令我十分感动。在我接触的年轻人中，像杨锴这样把自己完全
deeply. Among the youths that I have contacted, the aspirant who totally dedicates to art and is able
奉献给艺术、并能够破釜沉舟的有志者确实不多。我由此联系
to burn his boats like Yang Kai is really not much. So it reminds me of his art with the style feature
到他的艺术，以表现主义为风格特征，与他性格之间的联系。
of expressionism and the relationship between his character and art. Words are the voice of the mind.
正所谓言为心声，杨锴的表现主义绘画，应该说不只是呈现了
The expressionistic painting of Yang Kai, not only presents his ideas on art but also expresses his inner
他的艺术观念，更是他内在的生命需求。正因为杨锴的表现主
life needs. Because of Yang Kai's expressionistic painting associating with his character, memory,
义绘画，关联着他的性格、记忆、人生和思想观念等诸多方面，
ideas and many other aspects, he receives a steady stream of passion, as well as the surging power.
才使他获得了源源不断的激情，以及汹涌澎湃的动力。
Contemporary painting is affected by the image, more and more presents the tendency
当代绘画受图像的影响，越来越呈现出平面化的倾向，这
of complanation. It constitutes the artistic features of the information age. This undoubtedly
已经构成了信息时代的艺术特征。这种特征无疑削平了人的深
scapples the depth of human beings, also makes the art move towards the circulation of the
度，也使艺术走向图像的循环，在突出观念的同时，而淡化了
image, which emphasizes the ideas but plays down the human emotion at the same time. But
人的情感。但杨锴却是当代艺术界的一个异数，他反其道而行，
Yang Kai is an exception of contemporary art circle. He does the exact opposite. He shapes
以强烈的表现因素与情感诉求，来塑造自己的画面，施展自己
his own images with strong performance factors and emotional appeal, and displays his talent
的才华和激情，不仅只是为自己的热血青春留下了凭证，更为
and passion. He not only has left credentials for his own blood youth, more importantly, also
重要的是，为日益疲软的当代艺术注入了精神的力量与人性的
has injected into spiritual power and human voice for increasingly weak contemporary art.
强音。
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艺术家工作室
PROFILE
《白房子》布面丙烯 WHITE HOUSE 115cm×130cm acrylic on canvas 2015
100 GALLERY MAGAZINE
王乐 WANG YUE
Describe
BEAUTIFUL LIFE WITH COLOR IMPRESSION
王乐：用色彩印象叙述生活斑斓 采编：林建华 Interviewed by Hana Lam
按：自然景观对于王乐来说，便
or Wang Yue, natural landscape is like
如天然养分，树木、树干……这
natural nutrients; his creation is greatly
些自然生长的景观物象给了他创
inspired by natural landscape objects like
作的极大灵感，它们繁复错杂的
trees and trunks. He is attracted by their
生长形态，形与色的异同与变化
intricate growth forms, similarities and
吸引着王乐，每一次与风景的碰
differences in shape and color, and the change of shape and
撞，都是一次心与物象的对话，
color. Each collision with the scenery is a dialogue between
王乐以其独特创作手法将色块简
the heart and object. With his unique creation technique,
化作平面化运用，呈现的是斑斓
Wang Yue simplifies the color blocks and uses them in a
的印象景观。
flattening way, showing a colorful impression of landscape.
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艺术家工作室
PROFILE
《旷》布面油画 VAST 80cm×155cm oil on canvas 2013
《白色长方体》布面油画 WHITE CUBOID 100cm×115cm oil on canvas 2015
102 GALLERY MAGAZINE
《雨天》布面油画 RAINY DAY 38cm×45cm oil on canvas 2014
《画廊》：你的作品主题似乎总围绕着圭山风景，它们有时带有
Gallery: The theme of your work seems to always focus on the Guishan landscape.
一点神秘与幻想的色彩，有时又充满着对日常的叙述，这些风景、
Sometimes, they come with a little mysterious and fantastic colors, and sometimes
画面是否与你的内心存在特别的联系？
they are filled with daily descriptions. Are these landscapes and paintings specifically
王乐：圭山是昆明市石林县一个小镇，学生时代，我常去那里写
related to your heart?
生。我们的写生点是一个原始彝族村落，这给我画面中的神秘与
Wang Yue: Guishan is a small town in Shilin County, Kunming. When I was a student,
幻想色彩提供了可能；有时平淡的书写，是心灵对宁静的诉求。
I often went there to sketch. Where we sketched is a primitive Yi minority village, which
风景性的画面创作能更好的表达我心中记忆的景象，我是生活在
brings my paintings mysterious and fantastic colors. The occasional ordinary descriptions
昆明的北方人，面对圭山风景，总会不自觉地将它与记忆中家乡
are my heart’s appeal to serenity. The creation of scenery painting can better express the
的景象进行对比，它们有相似性又有差异性，记忆中的景象似乎
landscape in my memory. I am a northerner living in Kunming. Facing the scenery of
清晰似乎模糊，它们的碰撞正是我心中所要追寻的景象。
Guishan, I always compare it unconsciously with the scenery of my hometown in my memory. They are similar in some way and different in others. The scenery in the memory
《画廊》：你对画面中的人物作了非常简化的处理，几乎是用单
seems to be clear or obscure from time to time. Their collision is just the vision my heart is
一色块来表现，这种处理方式是基于怎样的选择呢？
looking for.
王乐：首先，出于对画面语言的思考，人物形象的剪影已经完成 了表达；其次，从情感上出发，面对人物剪影，受众陷入困惑，
Gallery: You deal with the characters in your painting in a very simple way. You
从而心理上对人物进行了再次复原。
express them almost with single color blocks. Why do you choose such kind of method? Wang Yue: First of all, it is due to the thinking of painting language. The silhouette of the
《画廊》：你热衷于以不同的形式描绘拥有不同生命姿态的树木、
characters has completed the expression. Secondly, it is from the perspective of emotion.
枝干，那么，树木作为画面的主体，你所希望表达的、寻找的是
Facing the silhouette, the audience will fall into confusion and then recover the characters
什么呢？
psychologically.
王乐：我小时候美好的记忆好像都离不开树，在家附近的果园 里，有大片大片的苹果树、桃树、山楂树，随着社会城市化进程
Gallery: You are keen to describe trees and branches of various living shapes in
的发展都已不复存在；我希望通过画面找寻记忆中的景象。树枝、
different forms. When you take trees as the main body of the painting, what do you
树干的穿插与交织，正好完成了画面的切割，与我心中所寻找的
want to express and looking for?
画面吻合。
Wang Yue: The good memory in my childhood seem to be closely related with trees. In the orchard near my home are lots of apple trees, peach trees, and hawthorns. However, with
《画廊》：对树木作斑驳、光影的处理使得画面更有韵味，这种
the development of social urbanization process, they are gone. I hope to look for the scenery
处理方式的灵感源自何处？
in the memory through painting. The branches and trunks intercross and interweave, just
王乐：源自在大自然中写生的经历，还有云南阳光最直接的刺
completing the fragmentation of the painting, and coinciding with the image my heart is
激，出于画面语言的实验，斑驳阳光的形状：点状、线状、面状、
searching for.
偶然形状等等，增强了画面层次、深度；色彩上更具空气感。画 家通过绘画作品分享他们眼中的形与色，也借此分享他们独特的
Gallery: You treat the trees with mottling, light, and shadow, making the painting
体验。
more charming. What inspires you to use this kind of treatment? Wang Yue: The inspiration comes from the sketch experience in nature, the direct
《画廊》：看你的作品，会感觉色彩与色彩、色彩与形象之间形
stimulation of the sun in Yunan, and the experiment of painting language. The shapes of
成一首和谐的奏鸣曲，在你看来，它们之间的关系是怎样的？
mottled sunshine, like dotted, linear, facet, and accidental shapes, increase the layer and
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艺术家工作室
PROFILE
《行走》布面油画 WALK 80cm×155cm oil on canvas 2015
《灰色物体》布面油画 GRAY OBJECT 100cm×115cm oil on canvas 2015
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《路过》布面油画 PASS BY 74cm×74cm oil on canvas 2015
《远方》布面油画 FAR 74cm×74cm oil on canvas 2015
王乐：一幅好的作品是有生命的、有情感的，画面中的色彩与色
depth of the painting and achieve airier colors. Through their works, painters share the
彩、色彩与形象如同身体中流淌着的血液与生命的关系。
shape and color in their eyes, as well as their unique experience.
《画廊》：你 2014 年毕业并留校任教，创作生涯一直处于校园环
Gallery: Looking at your works, we can feel various colors and images form a
境中，对自己的创作会不会产生局限？
harmonious sonata. In your opinion, what is the relation between them?
王乐：当然会，不过我记得王国维在《人间词话》中曾说：“词
Wang Yue: A good work is of life and emotion. The colors and images in the painting are
人者，不失其赤子之心者也。故生于深宫之中，长于妇人之手，
like the blood running in the body and life itself.
是后主为人君所短处，亦即为词人所长处。”因而我认为在校园 里的局限性未必是不好的，某种程度上来说这种“校园里的局限”
Gallery: You graduated in 2014 and stayed in college as a teacher. You keep staying on
能让创作者更好地思考自己的创作，对于大多数艺术工作者来说，
the campus in you art-making career. Does it limit your creation?
这种局限是很有必要的。
Wang Yue: Of course, it does. However, I keep in mind words by Wang Guowei in his Ren Jian Ci Hua: “A Ci poet should not lose his innocent heart like a child. Therefore, living
《画廊》：你的作品有一点表现主义的感觉，你的创作是否受哪
deep in the palace and being raised up by women are bad for Li Yu as an emperor, but are
个艺术流派的影响呢？有没有受到哪个艺术家的启发？
good for him as a Ci poet.” Thus, I think the limitation of campus might not be bad. In some
王乐：我受现代主义以来的画家影响比较多，并不拘泥于具体的
way, “the limitation of campus” can help art-makers think better about their creation. For
某个流派或者某个艺术家；当代艺术生机勃勃，有了更为广博的
most art workers, the limitation is necessary.
实验与探索，给艺术带来了更多的可能，这也非常吸引我。
Gallery: Your works show some feeling of expressionism. Is your creation influenced 《画廊》：你的创作是以写生为主吗？你如何看待写生与创作两
by a specific genre or artist?
者的关系？
Wang Yue: I am more influenced by painters since the age of modernism but not limited
王乐：我的创作并不完全是写生，还有很多方式。写生是一种体
to a specific genre or artist. Contemporary art is vibrant, with extensive experiments and
验，它不仅是视觉上的，它可以调动身体上的所有感官系统。对
exploration, bringing art more possibilities, which is very attractive to me.
于创作，这种体验是必要的、有益的，只靠图像、概念进行的创作， 其画面感受是单一、局限的；走出室内，走向自然，身临其境地
Gallery: Is your creation mainly about sketches? How do you think about the relation
去观察、认识、感受，对创作是大有裨益的。
between sketching and creating? Wang Yue: My creation is not entirely about sketches; there are many forms. Sketching is a
《画廊》：画画对你来说，最大的挑战或者乐趣是什么？
kind of experience, which is not only visual one but also mobilizes all the sensory systems
王乐：中学时代，我走进绘画世界，由一开始笨拙的描摹，我跌
of the body. It is necessary and useful to creation. If creation depends solely on pictures
跌撞撞，逐渐成长，期间的点点滴滴，都是无穷的乐趣；每一个
and concepts, the feeling of painting would be monotonous and limited. Walking out of
画者，都在不断挑战自己，挑战本身就是乐趣。
the room into nature to observe, learn and feel personally on the scene is of great benefit to
绘画是不断推翻、重建的一个过程，而我，在这个反复加减
creation.
重新建立的过程中找到属于自己的精神画面。
Gallery: For you, what is the greatest challenge or fun of painting? Wang Yue: I walked into the world of painting when I was in middle school, started from clumsy imitation, staggered along, and gradually grew up. All the memories are of great fun. Every painter keeps challenging themselves, and the challenge itself is fun. Painting is a continual process to overthrow and rebuild. In the process of repeated addition, reduction and rebuilding, I find the spiritual painting of my own.
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