2018年7月31日 星期二

Jean Dubuffet



It wasn’t until the age of forty-one that French artist Jean Dubuffet, born on this day in 1901, focused his attention on art-making, becoming known as much for his rebellious attitude toward prevailing notions of high culture and good taste as his radical experimentation with form and material.
Dubuffet revolutionized lithography, experimenting with surface texture and employing non-traditional techniques, including imprinting vegetal elements, writing messages on newspapers, and cutting up and re-collaging his lithographs and paintings. Explore his work in #MoMACollection at mo.ma/dubuffet.

[Artwork details: Jean Dubuffet. “Poster for the exhibition Écrits et Lithographies at Galerie La Pochade, Paris, February 29–March 1968.” 1968. Lithograph. Gift of Klaus G. Perls, in memory of Frank Perls, Art Dealer. © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris]




Jean Dubuffet




The New Yorker

The French painter and sculptor Jean Dubuffet collected works by people whose art was unlikely to see the inside of a museum. They were eccentric loners, mental patients, and prisoners.





Jean Dubuffet’s Primal Authenticity
His collection of art brut, now on show at the American Folk Art Museum, exalts unadulterated creativity.
NYER.CM|由 PETER SCHJELDAHL 上傳



Centre Pompidou
[Anniversaire] Il y a 114 ans naissait Jean Dubuffet. En 1952, il réalise la version métaphorique et picturale de ce "Voyageur sans boussole".https://www.centrepompidou.fr/id/ck4zkGG/rLMzR9/fr
Jean Dubuffet, Le Voyageur sans boussole,1952
© Georges Meguerditchian - Centre Pompidou, MNAM-CCI /Dist. RMN-GP © Adagp, Paris





















Jean Dubuffet | A Widow | The Metropolitan Museum of Art
[René Drouin, Paris, in 1944]; Claude Hersent, Paris and Meudon, France (in 1954); his former wife, Hélène Hersent-Anavi, Paulhiac, France (by 1957–d. 1981; her estate, 1981–84; her estate sale, Sotheby's, London, March 27, 1984, no. 40, sold to Matisse); Pierre Matisse, New York (1984–d. 1989; stoc…
METMUSEUM.ORG




The Metropolitan Museum of Art, New York
Happy birthday to French painter and sculptor Jean Dubuffet, born this day in 1901. In “A Widow,” we see Dubuffet’s rejection of traditional portraiture, which he regarded as facile imitation. Instead of conveying a sitter's likeness or personality, he focused on certain odd features, which he then exaggerated.








Jean Dubuffet (French, 1901–1985) | A Widow | 1943
METMUSEUM.ORG





















Jean Dubuffet. "Bird Perched on the Corner of the Wall (Angle de mur à l’oiseau perché)" from the supplementary suite for the book "Walls (Les Murs)" by Eugène Guillevic. 1945]



"Exemplary... makes us appreciate Dubuffet as a restless innovator and recycler." - The New York Times on the current exhibition "Jean Dubuffet: Soul of the Underground."








Jean Dubuffet at Museum of Modern Art
“Jean Dubuffet: Soul of the Underground,” at the Museum of Modern Art, presents works made with sand, dirt and gravel from this Art Brut founder.
NYTIMES.COM|由 KAREN ROSENBERG 上傳

Lucas Cranach, the Elder/ the Younger


The final decision in favor of the Norton Simon Museum represents a landmark ending to a complicated lawsuit that lasted over a decade.

Lucas Cranach, the Elder/ the Younger


Many of the paintings in our collection depict saints, who can be identified by symbols artists used to represent them. In this work by Lucas Cranach the Elder, Saint Genevieve holds the candle which she mysteriously relit: http://bit.ly/1FEn6yA

Lucas Cranach the Younger died ‪#‎onthisday‬ in 1568. Here’s his woodcut of Martin Luther http://ow.ly/Hq0PT

Lucas Cranach the Younger died #onthisday in 1568. Here’s his woodcut of Martin Luther http://ow.ly/Hq0PT
Lucas Cranach the Younger was born ‪#‎onthisday‬ in 1515. Here’s his print of Martin Luther http://ow.ly/CdMGt
Tune in to Monday’s BBC Radio 4 ‪#‎MemoriesOfANation‬ episode at 09.45 to hear more about Luther http://ow.ly/CgmpQ

Lucas Cranach the Younger was born #onthisday in 1515. Here’s his print of Martin Luther http://ow.ly/CdMGt

Tune in to Monday’s BBC Radio 4 #MemoriesOfANation episode at 09.45 to hear more about Luther http://ow.ly/CgmpQ

Britannica Concise Encyclopedia: Lucas Cranach, the Elder

(born 1472, Cranach, bishopric of Bamberg — died Oct. 16, 1553, Weimar, Saxe-Weimar) German painter and printmaker. He took his name from the town of his birth. Little is known about his early life or training. In Vienna (c. 1501 – 04) he painted some notable portraits and landscapes characteristic of the Danube school. From 1505 to 1550 he was court painter in Wittenberg, where he achieved great success and wealth painting portraits, mythological subjects, and altarpieces for Protestant and Catholic churches. He attracted so many young artists to Wittenberg that the town became an art centre. A friend of Martin Luther, Cranach became known as the chief pictorial propagandist of the Protestant cause in Germany. He produced numerous engravings and more than 100 woodcuts, notably for the first German edition of the New Testament (1522). After his death, his style was perpetuated by his son, Lucas the Younger (1515 – 86).


Wikipedia article "Lucas Cranach the Elder".


From the Fringe | 18.02.2008

Naked "Venus" Gets Free Ride in London

Venus has gone nude for more than 450 years. And prudish public officials could not convince her to cover up on the London Underground.

Topless would've been okay, officials for Transport of London said. But the poster for an upcoming Lucas Cranach the Elder exhibition at the Royal Academy of Arts in London went too far. The German master's "Venus Standing in a Landscape" depicts an unclothed, golden-haired woman cocking her hips behind a transparent veil.
Transport officials demanded the bottom half of the picture be cropped before it could go up in the London Underground. The advertisement was originally nixed for going against a rule prohibiting pictures which depict "men, women or children in a sexual manner, or display nude or semi-nude figures in an overtly sexual context."
Museum officials expressed shock that the "Venus" painting, completed in 1532, could be seen as problematic.
"We wouldn't have put a poster design forward if we thought it was offensive," academy spokeswoman Jennifer Francis said.
Decision reversed
John Whittingdale, an influential legislator, described the original ban as "absolutely bonkers."
On Saturday, Feb. 16 transportation officials admitted they had made a mistake and reversed their decision.
The exhibition on the German artist's work is scheduled to open March 8 at the Royal Academy of Arts in London. "Venus" is one of 70 works of Lucas Cranach the Elder which will be displayed in London.
DW staff (th)

2018年7月30日 星期一

Magic Realism: Art in Weimar Germany 1919–33




'Magic Realism: Art in Weimar Germany 1919–33' opens today at TateModern – one of our exhibition highlights of the week: https://www.apollo-magazine.com/…/magic-realism-art-in-wei…/

2018年7月29日 星期日

László "Moholy Nagy: Experiment In Totality" By Sibyl Moholy-Nagy

包豪斯理想 Bauhaus ldeal

Evolution in Art:As Illustrated by the Life-Histor...

此書,Experiment in Totality by Sibyl Moholy-Nagy ( Oct. 1969 第二版)感人 (這本的全文見Full text of "Moholy Nagy Experiment In Totality"
它是Walter Gropius (1883-1969) 的愛將 László  Moholy- Nagy (1895-1946)的  (第2任)夫人Sibyl Moholy-Nagy (1903-1971)寫其先生在德國包浩斯和芝加哥設立設計學院的創作回憶錄。
值得一讀 。 László "Moholy Nagy認為,人動手起來 ,可影響其心靈和感情。

"Moholy Nagy: Experiment In Totality"  的 卷首真言(motto), 乃取自 Alice in Wonderland 首章一句:

"And she tried to fancy what the flame of a candle looks like after the candle is blown out, for she could not remember ever having seen such a thing."



Moholy Nagy 1946.11.24 臨終的話 ,匈牙利語
Aludni
要睡了....




From Wikipedia, the free encyclopedia
Sibyl Moholy-Nagy (October 29, 1903 – January 8, 1971) was an architectural and art historian. Originally a German citizen, she accompanied her husband, the Hungarian Bauhaus artist László Moholy-Nagy, in his move to the United States. She is the author of one of the most important and influential[by whom?] studies of his work, Moholy-Nagy: Experiment in Totality, plus several other books on architectural history.

Biography[edit]

Sibylle Pietzsch was born in Dresden on October 29, 1903 to architect Martin Pietzsch (Deutscher Werkbund) and Fanny Clauss Pietzsch. After attending the University of Dresden, she became an actress, performing in several films. She eventually became a scriptwriter, and in the late 1920s, met Bauhaus-trained artist and photographer László Moholy-Nagy (1895–1946) while working on a film script. They were married in 1932. They had two daughters, Hattula (born 1933), and Claudia (1936–1971). After residing together in Germany for over a year and a half, they left due to the rise of Nazism. In 1934, they settled in Amsterdam, and then London for two years.
In 1937, the family emigrated to the United States, settling in Chicago. Here, Moholy-Nagy assisted her husband in opening and the New Bauhaus, in October 1937. Moholy-Nagy also helped her husband and the New Bauhaus staff to run the school until its closure in 1938. Moholy-Nagy also helped her husband run the Chicago Institute of Design for several years. Her first, and only published novel, Children's Children, appeared in 1945.
After her husband's death in November, 1946, Moholy-Nagy decided she would become an architectural historian and teacher. Her first book, a biography on her husband, Moholy-Nagy: Experiment in Totality, established her as an academic. In 1951, after holding teaching positions in Chicago and San Francisco respectively, she got a job as associate professor of architecture history at the Pratt Institute inNew York City. She taught courses on such subjects as urban history and design. She retired from being a full professor in 1969, and became a visiting professor at Columbia University until her death.
Throughout the 1950s and 1960s, Moholy-Nagy had a fulfilling career as an architecture critic, maintaining professional relationships with such figures as Walter GropiusPhilip Johnson, and Carlos Raul Villanueva (whom she would undertake an extensive study of his work). One her most important books, Matrix of Man: An Illustrated History of Urban Environment, appeared in 1968. She also made numerous contributions to architecture magazines, such as Architectural Forum and Progressive Architecture. She was also one of the first critics to study post-War Latin American architecture in-depth.
She died in New York City on January 8, 1971.

Bibliography[edit]

  • Paine, Judith, "Sibyl Moholy-Nagy: A Complete Life." Archives of American Art Journal 15:4 (1975), 11–16.
  • Sibyl Moholy-Nagy, Moholy-Nagy: Experiment in Totality. Cambridge, Mass.: MIT Press, 1969.

Selected publications[edit]

  • Children's Children (writing as S.D. Peech). New York: H. Bittner, 1945
  • Moholy-Nagy: Experiment in Totality. New York: Harper Brothers, 1950. (Rev. Ed., MIT Press, 1969)
  • Paul Klee: Pedagogical Sketchbook (Introduction and translations). New York: Praeger, 1953 (rev. 1968)
  • Native Genius In Anonymous Architecture. New York: Horizon Press, 1957.
  • Carlos Raul Villanueva and the Architecture of Venezuela. New York: Praeger, 1964.
  • Matrix of Man: An Illustrated History of Urban Environment. Preager, 1968
  • The Architecture of Paul Rudolph. (Introduction). Praeger, 1970



The Prolific Career of an Early Bauhaus Innovator: Laszlo Moholy-Nagy

  • 09:30 - 29 J




“The Siesta”, a large oil painting based on Jean-Francois Millet’s “La Sieste.”










 Jean-Francois Millet’s “La Sieste"
http://lusile17.centerblog.net/13895-peintre-celebre-jean-francois-millet

Peintre célèbre - Jean Francois Millet



Although best known for his feverishly colored landscapes, Vincent Van Gogh (1853 – 1890) preferred to paint people. Paying for models was a challenge to the impoverished painter, as he would constantly complain in letters to his only lifelong friend, his brother Theo. One painting featuring not just one but two people is “The Siesta”, a large oil painting based on Jean-Francois Millet’s “La Sieste.”






Le saviez-vous ?
Le musée d’Orsay est gratuit pour les 18-25 ans*, y compris les expositions temporaires.
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Did you know ?
The Musée d'Orsay is free for 18-25 year olds*, including temporary exhibitions.
* ressortissants ou résidents de longue durée d'un pays de l’Union européenne // citizens or long-term residents of an EU member state ?⠀
Photo : © Musée d'Orsay / Eric Jouvenaux

Marcel Duchamp (1887–1968) 《杜尚傳》/《杜象訪談錄》,


Solomon R. Guggenheim Museum

Did you #GuessTheArtist correctly? Here’s a full view of Marcel Duchamp’s “Nude (Study), Sad Young Man on a Train” (1911–12), from The Peggy Guggenheim Collection. Born today in 1887, this work shows a period when Duchamp was exploring Cubism, though still adhering to the conventions of painting and narrative structure. Shortly after the execution of this and similar works, Duchamp lost interest in Cubism and developed his eccentric vocabulary of mechanomorphic elements that foreshadowed aspects of Dada. Learn more: https://gu.gg/2uVWnBH




Marcel Duchamp (1887–1968) | Essay | Heilbrunn Timeline of Art ...

Marcel Duchamp, Given: 1. The Waterfall, 2. The Illuminating Gas, 1946–66

  • Marcel Duchamp, Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage . . . (Given: 1. The Waterfall, 2. The Illuminating Gas . . . ), 1946-1966. © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp. Courtesy of the Philadelphia Museum of Art.
    Marcel Duchamp, Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage . . . (Given: 1. The Waterfall, 2. The Illuminating Gas . . . ), 1946-1966. © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp. Courtesy of the Philadelphia Museum of Art.
For two decades, the Dada pioneer of the readymade created his last artwork in secret—all while the public believed he had abandoned artmaking altogether. The installation work, an old door that opens onto a full-scale, 3D tableau, turns its viewers into voyeurs as they peek through the opening. While the door, which Duchamp procured from Spain, reprises his fondness for found objects, the tableau behind it is surprising in its intricacy and representational realism.
In the foreground, a naked female figure is splayed on a bed of twigs and leaves, holding a lit gas lamp. She appears to be the victim of a crime. The figure was composed of casts made from the bodies of Duchamp’s former lover and his second wife, in an unsettling tribute. Like a more sexually suggestive version of John Everett Millais’s Ophelia, the piece is at once disturbing and enchanting. Dubbed “the strangest work of art in any museum” by artist Jasper Johns, it was finally unveiled when it was moved from Duchamp’s New York studio to the Philadelphia Museum of Art after his death in 1968.






MoMA The Museum of Modern Art


Is this art? Marcel Duchamp, born today in 1887, challenged the definition of art itself. "Bicycle Wheel," created in 1913, was Duchamp's first Readymade, a term he created for a common object that has been slightly altered. By simply selecting prefabricated items and calling them art, Duchamp subverted notions of the artist’s craft and the viewer’s experience. What do you think of "Bicycle Wheel?"http://bit.ly/1VMo32g


[Marcel Duchamp. "Bicycle Wheel." New York, 1951 (third version, after lost original of 1913). The Museum of Modern Art, New York. © 2015 Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp]

Solomon R. Guggenheim Museum


Happy birthday to Marcel Duchamp, the great iconoclast of 20th-century art. Duchamp identified this 1911 painting from the Guggenheim collection "Nude (Study), Sad Young Man on a Train" as a self-portrait, probably a study made while exploring ideas for the controversial "Nude Descending a Staircase, No. 2" of 1912:http://gu.gg/Qbbxb





Centre Pompidou

© 2014 Photo The Philadelphia Museum of Art / ArtResource / Scala, Florence © succession Marcel Duchamp / ADAGP, Paris 2014


[En savoir plus] Pour tout savoir sur Marcel Duchamp et sa peinture, consultez notre dossier de l'exposition : http://goo.gl/TC7bST


[瞭解更多]瞭解所有關于馬塞爾 · 杜尚和他的畫,看到我們的這次展覽的資料夾: HTTP://goo.gl/TC7bST (翻譯由 Bing 提供)










《杜尚傳》/《杜象訪談錄》/Duchamp and/or/in China

《杜尚傳》 Marcel Duchamp by Judith Housez

作者:(法)伍澤
  • 出版社:重慶大學出版社
  • 出版日期:2010年11月01日
  • 語言:簡體中文 ISBN:9787562456353

《杜尚传》 马塞尔·杜尚行为怪异,总设法捣鼓出嘲弄艺术的滑稽举动:为《蒙娜丽莎》画像添上一抹胡须,拿小便池放到现代艺术展上去展览,在不起 眼的现成品上签字后将其视为艺术品等等,不一而足。作为“20世纪初这段时间内最聪明的人”(布勒东语),作为超现实主义的引路人,作为达达运动在纽约的 通讯员,杜尚不但影响了毕卡比亚及曼·雷,而且还影响了贾斯培·琼斯、罗伯特·劳申伯格、约翰·凯奇以及安迪·沃霍尔等美国现代艺术家,但人们是否真正了 解怪异的杜尚呢?是否了解他的创作过程,他往来奔波于欧美大陆的生活,甚至他的情感生活呢?是否了解他那些像谜一样的作品呢?

****

《杜象訪談錄》 Pierre Cabanne 台北:雄獅美術 1986

展覽評論

杜尚在中國:一個小型展覽中的巨大

「杜尚與/或/在中國」展覽現場。
Photo: Luke Walker. Courtesy of UCCA
「杜尚與/或/在中國」展覽現場。

“作品在哪裡?”我參觀“杜尚與/或/在中國”(Duchamp and/or/in China)展覽時聽見一個年輕人問。
正在北京的尤倫斯當代藝術中心(UCCA)舉辦的“杜尚與 /或/在中國”是在中國舉行的第一次馬塞爾·杜尚(Marcel Duchamp)展。它肯定會引發各種期待,但是即使展覽中包含杜尚的標誌性作品《泉》(Fountain)——一個普通、簡單的小便池——仍然可能令人 失望。這讓我想起了另一個例子:有一次我看見一個學生站在中國畫家羅中立的代表油畫《父親》面前說:“這麼小。”她非常傷心,失望的淚水從臉上滾落。實際 上,那幅畫也不小,但是現實總是與人們的想像不太一樣。
  • 檢視大圖 「杜尚與/或/在中國」展覽現場。
    Photo: Luke Walker. Courtesy of UCCA
    「杜尚與/或/在中國」展覽現場。

“杜尚與/或/在中國”不是一個大型展覽,在杜尚生活的年 代,藝術品的規模都比較小。本次展覽更採用縮小的方式進行展示,也是基於其核心作品《手提箱里的盒子》(Boîte-en-valise)的概念。它包含 了這位藝術家所有代表作品的微型複製版,差不多有70件複製品、照片和彩色複製品,整整齊齊地裝在一個優雅的紅色皮質手提箱里。在這裡能了解杜尚的方方面 面:他的個性和人格,他的作品,以及他的創造力和“天才”。這不僅能從《手提箱里的盒子》中的內容體現出來,還能從它周圍的短期有效物品中看出來,比如圖 書封面、展覽海報、素描和照片。展覽的每一部分都配有精心編寫的文字介紹。這能營造一種親密感,讓參觀者感覺自己好像在瀏覽杜尚的私人財產。
展覽是由美國學者弗朗西斯·瑙曼(Francis Naumann)和唐冠科(John Tancock)構思和策展的。前者是公認的杜尚專家,最近幾十年的幾乎全球每一場杜尚作品展都有他的參與。他們選擇《手提箱里的盒子》作為展覽的核心非 常明智,因為它真的幾乎包含了杜尚所有的作品,儘管都是微型的。
實際上,“杜尚與/或/在中國”的規模是這次展覽令人愉快的一個特點。而且中國觀眾不僅第一次有機會看到杜尚的作品,更重要的是,有機會深刻了解杜尚的個性。
傳記《杜尚》的作者、美國作家卡爾文·湯姆金斯(Calvin Tomkins)曾經寫:“馬塞爾·杜尚是愛拿現代藝術玩鬧的魔術師,是積習已久的賭徒,他把古老的真理顛倒過來,讓我們重新思考藝術是什麼,或者說藝術可以是怎樣的。”
這種說法實際上是一種貶低:杜尚幾乎是憑一己之力創造了所 謂的“概念藝術”。是的,歐洲的其他前衛藝術家們從20世紀早期起也在不斷創新:畢加索1907年完成的作品《亞威農少女》(Demoiselles d’Avignon)展現出的“女人”新形象十分令人震撼;瓦西里·康定斯基(Wassily Kandinsky)1909年開始的“即興創作”系列是邁向純粹抽象主義的重要一步;這些只是20世紀初藝術界發生的重大變化的兩個例子。但是,這些變 化仍主要發生在繪畫領域,體現在藝術家處理圖像、表達真實事物和人物的方式上。
而杜尚則憑藉幾個令人震驚的作品,退出並超越了當時的傳統 媒體。2004年,他的重要作品《泉》被選為20世紀最有影響力的藝術作品。這件作品是他1917年“創作”的一個小便池,上面簽著他的筆名R. Mutt。對於一個下棋的時間至少和進行藝術創作的時間一樣多的人來說,這是個非凡的成就。據“杜尚與/或/在中國”的聯合策展人,杜尚研究專家弗朗西 斯·瑙曼說,“(杜尚)甚至認為下棋這項活動可以被認為是他藝術表達的組成部分。”
《泉》至今依然具有震撼力。即使在安迪·沃霍爾(Andy Warhol)的複製手法以及達米安·赫斯特(Damien Hirst)的“牛頭和蒼蠅”出現之後, 這件日常生活中最常見的物品的出現,向我們的態度而非審美品味提出了挑戰。難怪這在當時的藝術界激起了公憤。但是對杜尚來說,使用這件有實際功用的物品是 一個必要的手段,用以挑戰社會對繪畫或者他所說的“視網膜藝術”的發展方向的認可程度,因為這件物品直接指向那些永遠難登大雅之堂的身體功能。杜尚強調 說,藝術不應該只是滿足視覺享受的一種方式。他強調智力品格和藝術意圖的重要性,後來的事實證明,這極大地影響了20世紀人們對藝術和藝術家的態度。
“杜尚與/或/在中國”中展出了當時的一篇報紙文章,標題 叫“衛生間里的佛”。文章作者試圖駁斥那種認為《泉》“不道德”、“粗俗”的批評,或者認為它就是“一件普通的管道部件”的輕蔑態度。但是杜尚從不介意評 論家們的看法。“創作行為不是由藝術家獨立進行的,”他說,“觀眾通過破譯和解釋作品的內在價值把它與外部世界聯繫了起來,因此對創作行為做出了貢獻。” 雖然本次展覽遺憾地沒有展出《泉》本身,但是觀眾可以憑藉想像力“破譯和解釋它的內在價值”,繼續對杜尚的創作行為做出貢獻。
值得注意的是,杜尚的第一件現成物藝術品《單車輪》 (The Bicycle Wheel)是1913年創作的,離現在正好100年。他隨後在1914年創作了《瓶架》(The Bottle Rack):標題中提到的物品被放到支架或者基座上,再加上創作者杜尚的意圖,就上升成了藝術品。杜尚的改變非常快:1913年他還在巴黎的“秋季沙龍” (Salon d’Automne)上展示他的立體派油畫。但是在他1913年的油畫《下樓梯的裸女》(Nude Descending a Staircase)中,已經能看出形式和態度上的重大突破即將到來。瑙曼解釋說“杜尚的《下樓梯的裸女》在(紐約的)軍械庫展上讓觀眾大吃一驚,主要是 因為他們找不到標題中提到的下樓梯的裸女。而且,有點假正經的美國公眾覺得這個標題具有挑逗意味:一個裸女只要不是躺着的,不管她在幹什麼,都是他們不願 看到的。”
在“杜尚與/或/在中國”中,《瓶架》是和很多重要的中國 藝術家的作品放在一起展出的。這些藝術家們被認為是通過與杜尚“對話”來進行創作的,他們的這些作品證明了杜尚對其藝術創作的影響,雖然很多人開始自己的 創作之前從未看到過杜尚的任何一件作品。作為一個“愛玩鬧的大師……積習難改的賭徒”,杜尚應該也會欣賞這些作品。
比如中國藝術家趙趙的《無題》,它被稱為“對杜尚事業的機 敏總結”, 因為相框上的碎玻璃和裡面的油畫分別暗示着杜尚的兩件作品:前者暗指裝置作品《大玻璃》(The Large Glass, 1912-23),後者暗指《給予:1. 瀑布2. 燃燒的氣體》(Ḗtant Donnés)中的裸女,裡面的油畫有點像王興偉1998年創作的《燈塔》(它也在本次展覽中展出) 。艾未未的《懸掛的人》(Hanging Man)也在其中,它是一個彎曲成杜尚著名的側面像的衣架。另外一個裝滿小藝術品的手提箱也值得注意,它是由上海藝術家聯合體BizArt創作的,名叫 《62761232快遞展》。只要撥打62761232這個號碼,一個裝滿藝術作品的箱子就可以通過快遞運達。
本次展覽中展出的中國藝術家們的有形作品既是對杜尚作品的 補充,也深刻反映出了他對中國藝術界的影響。鑒於中國藝術家們對巨大事物的痴迷,而且很多藝術家自己的作品都規模宏大,而這個規模不大的展覽中陳列的微型 傑作,暗含着一種鮮明對比,這種對比甚至是一種諷刺——尤其考慮到杜尚給當代中國藝術家們帶來的巨大影響。杜尚一定非常欣賞這種諷刺。
「杜尚與/或/在中國」,展覽時間為 2013年4月26日至2013年6月16日。
凱倫·史密斯(Karen Smith)是一位生活在北京的藝術批評家、策展人,著有《發光體2號:親歷中國當代藝術現場》等。
翻譯:王艷