HOW VISION | 丹尼尔·阿尔轩的色彩世界——寻找未知
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）
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丹尼尔·阿尔轩的色彩世界：寻找未知
作者：
Zhanna Khromykh
--太阳是什么颜色的？
--黄色。
--我认为是白色的。
引自丹尼尔·阿尔轩纪录片《全彩》
当你大声地念出，红色，绿色，蓝色时，这些颜色会立刻出现在你的脑海中吗？对我们来说，这么做毫不费劲，因为从童年开始我们就是通过色彩来认识世界的。同时，这些颜色的意义和价值是由一个人所处的社会文化环境所决定的。正如米歇尔·帕斯图罗(Michel Pastoureau)所说，色彩是由社会“生产”的，不断发展其准则与价值，并且掌控了它的用途和使命。
在这样的环境下，颜色的问题实际上反映了社会的问题。例如，围绕颜色对于古典文物的作用的充满争议的讨论，不仅揭示了针对西方艺术史的观念转变，还同时揭露了一些现今仍然存在的社会与政治问题。
Cuirassed Torso （ ca. 470 BC）,Courtesy Fine Arts Museum of San Francisco
白色大理石雕塑和浮雕的形象定义了我们对于古希腊和古罗马的印象。几个世纪以来，这些艺术品被认定为我们在博物馆、书本、电影，甚至电子游戏中所见的美学标准。因此，这些古老的文物，由思想家和艺术家创造的几个世纪的纯粹，光芒四射的、白色的理想化“嵌合体”，牢牢地占据了它在欧洲文化意识中的地位。“白色”的古典雕塑实际上并非白色；它们被涂上了基于自然染料的多彩颜色。然而文化建构的过程模糊了这些古典艺术品曾经多彩的证据：即使没有特殊工具，我们仍然有可能看见残留在一些雕塑的衣服褶皱里和卷曲的头发里的那些鲜亮的涂料（那些没有经历过博物馆“洗刷”过程的）。但是，将古代文物与“色盲”联系的这种常态，一直持续到80年代早期，当时新技术的出现才使研究人员得以揭开时光的遮盖。博物馆的修复专家们也开始“重新挖掘”馆内的文物，并且更加全面地展现了这些艺术品的过去。
Longshot，2008 ，Gouache on mylar，81 x 119.5 cm，32 x 47 inches
有趣的是，这些研究导致了社会大众从惊讶到抗拒的一系列有争议的反应。这一争议揭露了我们有时难以改变对熟悉事物的普遍共识，以及颜色的存在与否不仅会改变我们的感知，而且在某种程度上也会改变周围世界的概念。
但颜色本身究竟是什么？人们甚至会以同样的方式识别并实际感知颜色吗？
Tornado Light ，2008，Gouache on mylar，81 x 119.5 cm，32 x 47 inches，Collection of Alexander Ramselaar, Rotterdam
答案很简单——不，我们不会。颜色是一个主观的特征。实际上，每个人感知颜色的方式都是不同的。这都取决于视网膜周围的视锥细胞的密度与分布，以及我们的大脑如何处理光线和其他物质的、生理上、心理上、以及社会文化的因素。感知上的差别或许很微小，但是在患有色盲的情况下，这些差别非常严重，他们很难分辨特定的颜色。尽管缺乏色彩分辨能力的人无法胜任某些工作，但在创造和艺术的领域却是更加有争议的情况。
Daniel ARSHAM，Pixel Cloud (New York)，2010
Plastic, paint，135 x 200 x 170 cm ，Courtesy Galerie Perrotin, Paris
在当下，Daniel Arsham是最著名的患有色盲的艺术家之一。他患有绿色盲，是对灰调、黄/橙调和蓝调光谱限制接收的红绿色盲的一种。这种缺陷成为他标志性的单色风格的形成基础也并不令人惊讶。并且，他与色彩间关系的故事是多面而有趣的。
Another light (blue)，2008，Gouache on mylar ，40.5 x 58.5 cm，16 x 23 inches
Arsham的早期超现实绘画描绘了在出人意料的环境里所搭建的建筑结构。令人惊讶的是，我们能在那些作品中看到一些色彩（绿色、紫色、红色等等），Arsham能够通过颜料管的标签使用颜色。与观众在色彩观点上的差异最终引领他使用一种更“真实”的方法：他专注于灰色、白色和黑色——这些所有人看起来一致的颜色。Arsham的艺术实践可以被看作单色画。然而，他的作品并不都与色彩的缺失有关，也与他所使用的材料有关。雕像是白色的，因为它们是由压碎的玻璃与晶体制成的；遗物是黑色的，因为它们是由火山灰铸造的；经过各种处理而展现出幽灵般的人影和腐蚀的建筑表面是白色的，因为墙面是白色的。如艺术家所说，“我认为材料中存在的色彩是真实的，”对于Arsham，材料与艺术形式一样重要。
deuteranopia-color-spectrum
Arsham最关键的艺术创作是在2015年，当时他收到了EnChroma能够改正色差的镜片。这些镜片在色谱上进一步折射光线并增加了人可以看到的色调。尽管它不能治愈色盲，但对艺术家来说，它成为了一扇能够开启充满多种色彩的世界的大门。结果，他终于能够创作一系列使用丰富色彩的作品。
Daniel Arsham, View of the Exhibition Circa 2345, 2016
Arsham在Galerie Perrotin纽约画廊的个展Circa 2345(2016)中首次展出了他对于多彩材料的研究。但与色彩的新合作并没有改变他重要的创作方式——所有的颜色仍然来自材料本身。一系列亮蓝色的作品是由蓝色方解石晶体制成的。Arsham使用了5000个由紫水晶铸造的不同大小、形状的球体来制作洞穴状的装置，创造出了非凡的视觉效果。
Moon Globe Purple, 2016
Moon Globe Purple, detail 2016
作为一名非常多产且在不同媒介、领域里工作的艺术家，他的作品里有一些贯穿始终的概念。总的来说，他一直在改变我们对于身边物品的认知。它可以是材料的转变，这体现在当他使用地质材料（如水晶和火山灰）创作日常生活物品，也体现在物品的尺寸和质地的改变，或是以最意想不到的方式转变建筑表面。他会选取我们熟悉的物品并将它陌生化，同时赋予它“一种新的目的和可能性。”如Arsham所说，‘选一个表面，选一个与人们有关系且有期望的事物，然后把它推进人们意想不到的地方。”
Zen Garden at High Museum of Art in Atlanta
Zen Garden High Museum of Art in Atlanta
在2017年他呈现了一系列新的作品，对传统日式茶园进行了重新构想。经过全面的再创作，禅意花园（Zen Garden）(High Museum of Art, 亚特兰大)和月光花园（Lunar Garden）(Cadillac House画廊, 纽约)只进行了一处改动——颜色的改变：Arsham用蓝色和粉色代替了常用的白沙。这一微妙的改变却有着足够的力量，带领我们到达一个未知的领域，让我们得以一窥平行宇宙中茶园的模样。
Daniel Arsham, Lunar Garden, Cadillac House - NYC, 2017
Daniel Arsham, Lunar Garden, Cadillac House - NYC, 2017
随着对于宇宙越来越深入的探索，他基于NASA喷气推进实验室的研究成果创作了一系列对于“人工月亮”（invented moons）的描绘。在这些作品中，他延续了对于色彩以及色盲对于视力影响的研究，尤其是对影子的影响。在这些和其他作品中（如和月光花园Lunar Garden等），Arsham在空间中创造了一个单一光点的幻觉，并且“替换”了会出现渐变色的阴影。
Daniel Arsham, View of the Exhibition The Angle of Repose at Galerie Perrotin Paris (France), 2017
Daniel Arsham’s Crystal Toys, 2017. Source
在他之后的作品中，这位艺术家并没有继续使用“彩虹”式的丰富色彩。他最终仍更偏爱单色色调。这并不意味着他拒绝色彩——在他的展览中，色彩因素仍然扮演了重要的角色（通常是蓝色、粉色和紫色）。Arsham工作室的标志之一是他极易辨认的“Arsham绿”，一种让人想起青铜器表面铜锈的浅薄荷绿，它不可避免的与时间的“轨迹”联系起来。尽管如此，即使他在作品中加入了色彩，Arsham指出“（我的作品中）仍然有减少色彩的想法，它实际上是被限制的。”
Daniel Arsham, One Peachtree Center Proposal, 2004. Gouache on mylar, frame, 61 x 51 cm. Unique, Courtesy Galerie Perrotin
对Arsham来说，作为一个色盲艺术家，他使用EnChroma镜片的经历是非常有意义的：它们使他得以在更宽广的颜色领域中扩展他的艺术创作。他有6至8个月是常常戴着眼镜的。然而之后，他意识到镜片使他从真正感兴趣的事物上“分心”了。从童年时期起，他就十分热爱建筑，因为它们代表了结构与对称，与建筑的颜色没那么相关。现在透过这些镜片，他身边世界的细微差别被过度强调和饱和了，让他感觉身处电子游戏中。用艺术家的话来说，这感觉像是“面前「粘着」一张引起幻觉的海报”。感知的显著变化能引起任何成年人大脑的不适，并且在视觉感知改变的情况下会导致“色彩疲劳”。
Daniel Arsham, Zen Garden in Rio de Janeiro, 2018, Image by Joana França
从此Arsham不再在日常生活中佩戴这副眼镜了，但他仍把它们作为艺术创作的工具，来帮助他在更客观的光线下能够辨别颜色。但是要判断他是否真的能看到其他有“正常视觉”的人看见的是不可能的。但正如我们所知，即使我们用统一的名称来称呼我们所看到的事物，每个人都有非常独特和个体色彩认知。
归根结底，通常任何缺陷都会被认为是负面的，并且Arsham过去也一直这么看待他的色盲症状。然而，他佩戴特殊镜片的经历却使他有了不一样的看法：“从一开始就看不出颜色实际是是一个礼物”。在某种意义上，视觉的限制让他得以看到一些拥有全彩视觉的人会忽视的东西。
Daniel Arsham, Zen Garden in Rio de Janeiro, 2018, Image by Joana França
用不同的角度看熟悉事物的机会会很容易让一个人的稳定世界变得不再稳固。在多彩的古代雕塑的情况中，它甚至会带来异常且引人不安的感觉，但同时它也启发我们去看到一个更全面的世界。
但是世界究竟是什么样的？我们有数十亿种独特的方式来看待我们周围的颜色和事物，数十亿种视角，和数十亿种观念碰撞在一起。这不正使我们的生活变得更加多彩了吗？
关于艺术家
丹尼尔·阿尔轩
丹尼尔·阿尔轩成长于迈阿密，曾就读于纽约库伯联盟学院，并于2003年获得格尔曼奖学金。结构实验、历史质询与反讽，都与阿尔轩正在进行的对现实和想象的质疑相结合。从职业生涯早期开始，他就对合作充满的兴趣。在2004年，传奇编舞家摩斯·肯宁汉邀请阿尔轩为他的作品“眼空间”做舞台设计，并与与罗伯特·威尔逊及与前肯宁汉舞蹈家乔纳·博卡尔持续合作。为进一步扩大空间操控和协作的可能性，阿尔轩于2007年与亚历克斯·慕斯多宁一起创立了建筑工作室Snarkitecture。阿尔轩的近期合作包括与著名音乐家、制作人法瑞尔·威廉姆斯合作，参与其首个火山灰键盘的创作。
阿尔轩的作品曾在纽约PS1、迈阿密当代艺术博物馆、希腊雅典双年展、纽约新美术馆、加利福尼亚奥克兰米尔斯学院美术馆，和法国尼姆艺术中心展出。第一本关于他的出版物由法国国家艺术中心出版，第二本则由贝浩登画廊于2012年出版。
Daniel Arsham: Perpetual Present
Duration： 2019/06/29 - 2019/10/24
Organizer: HOW Art Museum
Venue：Gallery 1/ 2/ 3/ 4, 1F, HOW Art Museum, No 1, Lane 2277, Zuchongzhi Road, Shanghai
The Color Worlds of Daniel Arsham：a Search for the Unknown
by Zhanna Khromykh
-What color is the sun?
-Yellow
-I think it’s white
(From Daniel Arsham, Colorblind Artist: In Full Color)
Read out loud: red, green, blue. While doing that, would you immediately envision those colors in your head? This action does not require any effort on our part; since childhood, we perceive the world through colors. At the same time, the meaning and value of colors are formed and determined by the socio-cultural situation in which a person exists in. According to Michel Pastoureau, it is society that “produces” color; society develops codes and values for it, and regulates its use and its tasks.
The problems of color in this context extrapolate the problems of society. For example, the controversial debates regarding the role of colors in classical antiquity revealed not only aspects that change the perception of the history of Western art, but simultaneously uncovered certain social and political issues that still exist today.
Luciano Ermo and Cast by Andrea Felice and Polychromy by Stefano Spada. Reconstruction of original polychromy of the Augustus of Prima Porta (C. 100 CE). © Vatican Museums.
Images of white marble statues and reliefs are what defines our vision of ancient Greece and Rome. For centuries, these artifacts have been recognized as an aesthetic standard - standards of what we saw in museums, books, and movies, and now, even in video games. Thus, this antiquity, this idealized “chimera” of pure, radiant white, created by scholars and artists through centuries, firmly occupied its place in European cultural consciousness. “White” antique sculptures weren’t in fact white; they were painted in various colors based on natural pigments. But cultural constructs obscured the evidence of the antique artworks’ polychromy: even without any special tools, it’s possible to see bright pigment remains in the folds of clothes and curls of hair in some statues (which did not go through the process of “washing” in museums). However, “color blindness” in relation to ancient relics was the norm until the early 1980s, when new technologies allowed researchers to look under the covers of time. Curators and restorers began to “re-excavate” objects within museums, showing the past in a more comprehensive way.
Night Light, 2008. Gouache on mylar, 43 x 61 cm.
Courtesy Galerie Perrotin, Paris
Interestingly, these studies have caused a controversial reaction among the general public - from surprise to rejection. This controversy exposed how difficult it is sometimes for us to change the general consensus on familiar things, and how the presence or absence of color can alter not only our perception, but also to some extent, the concept of the surrounding world.
But what is the color itself and do people even recognize and actually perceive colors in a same way?
The answer is simple – no, we don’t. Color is a subjective characteristic. In fact, all people perceive colors differently. It all depends on the density and distribution of the cones around the retina, and how our brain interprets streams of light and other physical, physiological, psychological, and socio-cultural factors. The differences in perception may be insignificant. However, in the case of color blindness, it’s much more serious and those affected have difficulty distinguishing certain colors. Even though people with color vision deficiency are unable to do certain work, it’s a controversial matter in creative and art fields.
Daniel Arsham, Zen Garden in Rio de Janeiro, 2018, Image by Joana França
Nowadays, Daniel Arsham is one of the most famous color blinded artists. He has Deuteranopia, a form of green-red color blindness, which limits one’s color spectrum to hues of grey, yellow/orange and blue. It is not surprising that this kind of deficiency became one of the foundations for the formation of his recognizable monochrome style. Nevertheless, the story of his relationship with color is multifaceted and interesting.
Tornado Light ，2008，Gouache on mylar，81 x 119.5 cm，32 x 47 inches，Collection of Alexander Ramselaar, Rotterdam
Longshot，2008 ，Gouache on mylar，81 x 119.5 cm，32 x 47 inches
Another light (blue)，2008，Gouache on mylar ，40.5 x 58.5 cm，16 x 23 inches
Arsham’s early surrealistic paintings depict architectural structures staged in an unexpected environments (i.e. Tornado Light , 2008; Another light, 2008; Longshot, 2008 etc.).Surprisingly, we can see some colors (green, purple, red etc.) in those works, but Arsham were able to use the colors through the labels on the tubes of paint. The difference in the audiences’ color perspective eventually led him to a more “authentic” approach: he focused on hues of grey, white and black - colors which everyone sees the same. Arsham’s art practice can be perceived as monochrome. However, it’s not about lack of the color, it’s about materials he uses. The sculptures are white because they are made from crushed glass and crystals; the relics are black because they had been cast from volcanic ash; various manipulations with the architectural surfaces that show ghostly figures and erosions are white because the walls are white. In his words, “I thought of it as being true to existing color in the materials”, and material for Arsham as important as form.
The pivotal point for Arsham’s artistic practice was 2015 when he received EnChroma lenses which can correct color deficiency. These lenses refract light further apart on the color spectrum and increases the shades of color a person can see. Even though the glasses are not a cure for color blindness, for the artist, they become a gate to a world filled with multiple shades of new colors. As an outcome, he created series of works marked by the use of rich hues.
Circa 2345，2016，Installation view，Perrotin, New York，Courtesy of the artist and Galerie Perrotin
For the first time, Arsham presented his investigation in colorful materials at the Galerie Perrotin NY for his solo show Circa 2345 (2016). However, the new incorporation of color did not change his significant approach – all colors still came from the material itself. Group of works in radiant blue were made from blue calcite crystal. For the cavern-like installation, Arsham used around 5000 sport balls casted from amethyst in various sizes and in varying shades of violet, creating a great visual effect.
Lunar Cycle, 2017
Being a very prolific artist who works in very different mediums and dimensions, there are certain concepts which run throughout his work. Generally speaking, he always alters our perception of things surrounding us. It can be a shift in material while he casts daily life objects from geological materials such as crystals and volcanic ash, or a shift in the size and texture of objects, or it can be the transformation of architectural surfaces in the most unexpected ways.He would take something familiar and de-familiarize it, while at the same time also giving it “a new purpose and possibility”. In Arsham’s words, “take a surface, take a thing that people have relationship with and expectation upon and push [it] into places that people might not expect to go”.
Zen Garden at High Museum of Art in Atlanta
In 2017 he presented a new body of work that re-imagines traditional Japanese tea garden. Recreated in full scale, Zen Garden (High Museum of Art, Atlanta) and Lunar Garden (The Gallery at Cadillac House, NY) have only one alteration, which is its shift in color: Arsham replaced the usual white sand to blue and pink. That subtle shift, however, has enough power to bring us to an unknown territory that can give us a glimpse of what a tea garden in someone’s parallel universe might look like.
Daniel Arsham, Lunar Garden, Cadillac House - NYC, 2017
Going deeper in the exploration of the Universe, he creates a series of works depicting invented moons, based on research at the Jet Propulsion Laboratory at NASA. Here, he continues his studies of color, and the way color blindness affects his vision, particularly with shadows. In those and some other works (i.e. Lunar garden etc.), Arsham creates the illusion of a single point of light across the space and “replaces” shadows as they would appear with gradient colors.
Crystal Ball Cavern，2016，Amethyst and hydrostone ，279.4 x 599.4 x 698.5 cm
In his further work, the artist, however, did not follow the path of the very expansive usage of colors in a “rainbow” manner. He ultimately still prefers a monochromic palette. This does not mean that he refuses to color - in his exhibitions the presence of a color element still plays an important role (often shades of blue, pink or purple). One of the symbols of Arsham Studio is the recognizable “Arsham’s Green”, a pale mint green reminded of the color of patina on bronze statues, which is inevitably associated with the “traces” of time. Nevertheless, even if he adds color to his work, he points out that “there is still an idea of reduction, that [something] is really limited”.
For Arsham, a colorblind artist, his experience with EnChroma lenses was a meaningful one: it made him expand his artistic practice in the wider array of colors. For the first 6-8 months, he wore the glasses quite often. However, over time he realized that they were “distracting” him from the things he was really interested in. Since childhood, he loved architecture because it was about structure and symmetry, and for him, not so much about color. Now, seen through the lenses, the life that surrounds him is overly nuanced and saturated, giving him an impression of existing in a video game. In the artist’s words, it felt like having “a psychedelic poster [stuck] in your face”. Significant shifts in perception can cause discomfort to any adult brain, and in case of an alteration of visual perception, it can cause “color fatigue”.
Blue Calcite Eroded American Flag
Arsham no longer wears these glasses in everyday life, but uses them as a tool in his artistic creation to help him perceive colors in a more objective light. However, there is no way to tell if what he sees is what other people with “normal vision” would see.But as we know, everyone has very unique and personal perception of color, even if we call what we see with the same word.
Ultimately, any kind of deficiency is usually seen as a negative, and that was what Arsham used to think about his colorblindness throughout his life. However, his experience with the lenses made him think differently: “the gift actually was not having color vision in the first place”. In some sense, limitations of vision perception let him see things that he may not notice or pay attention to in full color.
Blue Calcite Eroded American Flag
But what is the world? There are billions of unique ways to see colors and things around us, billions of perspectives, and billions of opinions collided together. Doesn’t that make our life colorful?
But what is the world? There are billions of unique ways to see colors and things around us, billions of perspectives, and billions of opinions collided together. Doesn’t that make our life colorful?
About The Artist
Daniel Arsham
Raised in Miami, Daniel Arsham attended the Cooper Union in New York City where he received the Gelman Trust Fellowship Award in 2003. Structural experiment, historical inquiry, and satirical with all combine in Arsham’s ongoing interrogation of the real and the imagined. His interest in collaboration began early. In 2004 legendary choreographer Merce Cunningham asked Arsham to create the stage design for his work eyeSpace. Despite never being trained in stage design he has continued his practice, collaborating with Robert Wilson, as well as a sustained collaboration with Jonah Bokaer. To further expand the possibilities of spatial manipulation and collaboration, Arsham founded Snarkitecture in 2007 with partner Alex Mustonen to serve new and imaginative purposes. Arsham’s most recent collaboration with world renowned musician and producer Pharrell Williams involved the recreation in Volcanic Ash of Pharrell’s first keyboard.
Arsham’s work has been shown at PS1 in New York, The Museum of Contemporary Art in Miami, The Athens Bienniale in Athens, Greece, The New Museum In New York, Mills College Art Museum in Oakland, California and Carréd’Art de Nîmes, France among others. A first monograph of Arsham’s work was published by the French Centre National des arts plastiques and a second one was published by Galerie Perrotin in 2012.
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预售时间：2019.5.27-6.28
使用时间：2019.6.29-10.24
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昊美术馆（上海）
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昊美术馆（上海）是具备当代艺术收藏、陈列、研究和教育功能的全新文化机构，坐落于上海浦东，于2017年9月正式对外开放。昊美术馆首创“夜间美术馆”的运营模式，常规对外开放时间为周二至周五下午1点至夜间10点，周末及节假日开放时间为上午10点至夜间10点。此举能让更多观众在工作之余前来美术馆观展，昊美术馆也举办“国际策展人驻留项目”、“户外电影节”、“雕塑公园”等国际交流项目和户外活动，以此建立全新的艺术综合体和浦东新地标。
昊美术馆（温州）
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昊美术馆（温州）延续昊美术馆（上海）的“夜间美术馆”运营模式，是浙江省首家"夜间美术馆"，常规对外开放时间为下午1点到夜间10点，周末及节假日开放时间将向前延长为上午10点至夜间10点。昊美术馆（温州）将持续为公众呈现丰富的公共教育及户外艺术项目，引领融合艺术、设计、科技的全新生活方式。
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