HOW VISION | 丹尼尔·阿尔轩的模拟废墟
丹尼尔·阿尔轩：现在在现
展期：2019年6月29日- 2019年10月24日
主办：昊美术馆
地址：昊美术馆（上海）一楼1/2/3/4展厅（上海市浦东新区祖冲之路2277弄1号）
丹尼尔·阿尔轩的模拟废墟
马汀娜·布歇
开放式楼梯，2006, 环氧树脂泡沫塑料、PVC、环氧树脂，图片致谢艺术家与贝浩登画廊
OPEN STAIRCASE, 2006,Epoxy foam, PVC, epoxy resin，Courtesy the Artist and Perrotin
丹尼尔·阿尔轩的艺术是一个谜，通过与他以灵感构建的外部世界产生联系才可破获。通过将景观和建筑等美学范畴融于艺术领域当中，他展示了艺术是如何在其中掌握主导权的。
PEACHTREE CENTER设计方案，2004，聚脂薄膜上水粉画，图片致谢艺术家与贝浩登画廊
ONE PEACHTREE CENTER PROPOSAL, 2004,Gouache on mylar, frame，Courtesy the Artist and Perrotin
他所使用的都是艺术表达——风景绘画，刻画，雕塑，再现和拼贴。尽管阿尔轩与建筑和景观有密切联系，但他始终保有一定距离，从而确保他的作品与更为传统的表达形式有一定的连续性。我们正眼见着艺术停留在其中的限制，代码，媒介，生产和空间制造里。阿尔轩并非冒险地对景观或建筑进行干预。相反，他先感受外界，然后把它们带入他个人的表达场景里。他从建筑和景观中借鉴，就如通过结合远观的视角，通过寺庙，山脉或树木设计园林，创造空间扩展效果的日本传统一样。
展览现场图"IT SPEAKS"于 Oi Futuro Rio de Jainero (Brazil), 2017，图片致谢艺术家与贝浩登画廊
VIEW OF THE EXHIBITION"IT SPEAKS"at Oi Futuro Rio de Jainero (Brazil), 2017，Courtesy the artist and Perrotin
建筑被视作任务，墙被电锯锯开，立面被撕扯并推倒；当天花板和地板之间结构的连续性被打成碎片，那么它的支撑功能也被消除了。然后是对现代主义运动的猛烈抨击——尤其是勒·柯布西耶的拉图雷特修道院——它脱离了原有景观的语境而被重新定位在一个标志性的多山地带。这种重新定位是对“白瓷釉法则”的抗争，勒·柯布西耶在一篇文章中呼吁对白色的普遍使用，通过“装饰隐藏所有污渍，瑕疵和缺陷”，作为简单，真理和纯粹的同义词——这三种概念与模仿现实相对立。
“无形图形”, 玻璃纤维、油漆和连接料， 2015，图片致谢艺术家与贝浩登画廊
Formless Figure ,Fiberglass,paint,and joint compound,198.1×185.4×73.7cm, 2015，Courtesy the artist and Perrotin
采用这种态度，阿尔轩将分裂视为他与建筑的关系中的关键要素——他们的关系最初基于吸引力，然后排斥。他吸引，捕捉和结合建筑的成分，然后通过破坏逐渐抽离。通过变动，故意侵蚀和被丰裕的自然吞噬恢复其至高地位，巧妙构建的结构崩塌突显了艺术创造力胜过了建筑理性。当柱子被分成两半，是他以艺术对建筑结构凝聚力作出挑战；当立面的某个局部整个坍塌，是他通过艺术对建筑完整性的破坏；在阿尔轩为摩斯·肯宁汉设计的大面积舞台装置里，他的创作挑战了舞台布局的连续性。
"SET DESIGN FOR MERCE CUNNINGHAM DANCE COMPANY'S LAST SHOW"现场图，2011，图片致谢艺术家与贝浩登画廊
VIEW OF THE EXHIBITION，"SET DESIGN FOR MERCE CUNNINGHAM DANCE COMPANY'S LAST SHOW"at Park Avenue Armory New York (USA), 2011，Courtesy the artist and Perrotin
就像植物的繁衍，“建筑者”引发了古典遗址带动的审美情绪，比如忧郁，或者由冷漠入侵，自然缓慢的工作而引起的某种关于崇高的感受。最引人关注的是，建筑形式，几何形状，无暇白色的明显寿命。我们看到废墟，但没有侵蚀迹象；也没有即时破环现象的暴力，无论是自然的还是故意的。显然，这些作品与恐怖主义暴力，战争，自然灾害，重要城市的城市发展所造成的日常悲剧共生。在这里，每个物件都散发出缓慢，无冲突和平静的感觉。因此，阿尔轩正是以这种方式勾勒了一种政治文化语境的轮廓，在其中形成一种甚至是间接地，强调和夸大现实的视觉回声。
作者介绍
马汀娜·布歇是一位建筑师，巴黎-瓦尔德塞纳国立高等建筑学院视觉艺术美学教授，LOUEST (cnrs n°7145)研究员，以及两本关于艺术与建筑关系出版物的作者：Lumière(s), regards singuliers sur l’art et l’architecture, Brussels, Editions Ousia, 2002； L’art n’est pas l’architecture, hiérarchie, fusion, destruction », Edition Archibooks, 2006.
DANIEL ARSHAM’S ANALOGOUS RUINS
BY MARTINE BOUCHIER
丹尼尔·阿尔轩于俄罗斯莫斯科 VDNH 个展“Moving Architecture”现场，2017，图片致谢艺术家与贝浩登画廊
View of Daniel Arsham’s solo exhibition “Moving Architecture” at VDNH Moscow (Russia), 2017 Courtesy the Artist and Perrotin
Daniel Arsham’s art is an enigma that is resolved through contact with an exterior on which he draws for inspiration. By incorporating various aesthetic fields like landscape and architecture into the domain of art, he demonstrates how art wields power over other fields.
The means used belong exclusively to art—landscape painting, the chiseling and carving of sculpture, representation and collage. And despite the close relationship Arsham maintains with architecture and landscape, he always maintains a certain distance, thus ensuring a kind of continuity between his art and more traditional forms. We are witnessing a process in which art remains within its limitations, its codes, its mediums, and production and fabrication spaces. Arsham doesn’t venture into the landscape, nor does he intervene in terms of architecture. Instead, he senses, then harnesses the outdoors and brings it into his own personal venues of expression. He borrows from architecture and landscape as did, according to Japanese tradition, those who designed gardens and created the impression of expanding space by incorporating a faraway perspective, a temple, a mountain or a tree.
展览现场图"IT SPEAKS"于 Oi Futuro Rio de Jainero (Brazil), 2017，图片致谢艺术家与贝浩登画廊
VIEW OF THE EXHIBITION"IT SPEAKS"at Oi Futuro Rio de Jainero (Brazil), 2017，Courtesy the artist and Perrotin
Architecture is taken to task, a wall assaulted by an electric saw, a section of a facade ripped out and overturned ; a beam whose support function is blown to smithereens when the structural continuity between ceiling and floor is eliminated. Then there’s the onslaught on a paradigm of the Modernist Movement—Le Corbusier’s Couvent de la Tourette— which is taken out of context from its original landscape and repositioned in a iconic mountaineous setting. This repositioning is a defience to the “Law of Ripolin (whitewash),” a text in which Le Corbusier appealed for the universal use of white, synonymous with simplicity, truth and purity—three notions that lie in opposition to the simulation of reality embodied by the “decor hiding all stains and all the defects and flaws.”
In adopting this approach, Arsham sees the schism as the crucial cog in his relationship to architecture—a relationship initially based on attraction, and then on repulsion. He attracts, captures, and integrates architectural constituents, then gradually pulls away by staging a kind of destruction. Through upheaval, intentional erosion and engulfment by a luxuriant nature reasserting its supremacy, the collapse of structures that have been ingeniously constructed highlights the triumph of the forces of art over architectural rationality. Art defies the cohesion of the architectonic structure when a column splits in two; defies the integrity of its image when an entire section of a facade collapses ; defies the continutity of the layout when unity of volume fragments in the set Arsham designed for Merce Cuningham.
"SET DESIGN FOR MERCE CUNNINGHAM DANCE COMPANY'S LAST SHOW"现场图，2011，图片致谢艺术家与贝浩登画廊
VIEW OF THE EXHIBITION"SET DESIGN FOR MERCE CUNNINGHAM DANCE COMPANY'S LAST SHOW"at Park Avenue Armory New York (USA), 2011，Courtesy the artist and Perrotin
Ensconced in vegetal proliferation, the “architectones” trigger aesthetic emotions brought on by classical ruins, such as melancholy, or a certain notion of the sublime borne by the impression of an impassive invasion, by nature’s slow and gradual labor. But most striking is the apparent longevity of architectonic forms, of geometry, of immaculate white. We see a ruin, but there is no erosion ; a ruin without the violence of contemporary destructive phenomena, whether natural or intentional. For evidently, these works coexist with the everyday tragedies imposed by the violence of terrorism, wars, natural catastrophes, urban development of major cities. But here everythings exudes a sense of slowness, the absence of conflict, of peace.
So it is definitely in this way that Arsham lays down the contours of a politico-cultural context that finds, in the forms created, a visual echo imitating, underscoring and exaggerating reality, even if indirectly.
丹尼尔·阿尔轩于俄罗斯莫斯科 VDNH 个展“Moving Architecture现场，2017，图片致谢艺术家与贝浩登画廊
View of Daniel Arsham’s solo exhibition “Moving Architecture” at VDNH Moscow (Russia), 2017 Courtesy the Artist and Perrotin
The Introduction Of Author
Martine Bouchier is an architect, professor of the aesthetics of visual arts at the Paris-Val de Seine architecture school, researcher at LOUEST (cnrs n°7145) and author of two works on the relationship between art and architecture : Lumière(s), regards singuliers sur l’art et l’architecture, Brussels, Editions Ousia, 2002 and L’art n’est pas l’architecture, hiérarchie, fusion, destruction », Edition Archibooks, 2006.
丹尼尔·阿尔轩亚洲首场美术馆个展
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