[新美术馆学]系列讲座之十三|叠层废墟：艺术展示的跨时空历史

叠层废墟：艺术展示的跨时空历史

Laminated Ruins: The History of Art Display Across Time and Space

讲者：高远(中央美术学院艺术学博士，清华大学艺术学理论博士后出站，任教于北京工业大学艺术设计学院传媒与艺术理论系）

Lecturer: Gao Yuan（PhD in Art History from the School of Humanities, Central Academy of Fine Arts, and a post-doctoral fellow from Tsinghua University, teaches at the Department of Media and Art Theory, School of Art and Design, Beijing University of Technology）

讲座时间：2021年1月12日15:00

Time: 15:00, Jan. 12th, 2021

讲座方式：腾讯会议

Platform: Tencent Meeting

会议号码：468587601

Meeting ID：468587601

主办单位：广州美术学院研究生学院、新美术馆学研究中心、广州美术学院美术馆

Organizers：Graduate School of Guangzhou Academy of Fine Arts, The Research Center of New Art Museum Science, Art Museum of Guangzhou Academy of Fine Arts 

讲座提纲

Lecture outline

在一片废墟中的败落之物，那些意义重大的残破之物，那些碎片是巴洛克创作的最高贵材料……古典时代遗留给巴洛克艺术家的一切都逐个成为元素，最终被混合为新的整体，不，是构筑为新的整体。因为这一新的整体的完整版本正是：废墟。

——瓦尔特·本雅明

That which lies here in ruins, the highly significant fragment, the remnant, is, in fact the finest material in baroque creation…The legacy of antiquity constitutes, item for item, the elements from which the new whole is mixed. Or rather: is constructed. For the perfect vision of this new phenomenon was the ruin.

Walter Benjamin

历代对于古物的收集与展示构成了今天意大利文化遗产景观的丰富性。从古代神殿到数层累叠的基督教教堂的转换，以及古代遗迹、建筑部件和绘画的位移展示与再利用都标记着特定意义的“历史”融入“当下”；无论是“夺用”（spolia）还是增建，意大利的画作和建筑空间可能是体会诸多历史凝结成当下的最佳场域，而意大利的现当代建筑对于旧有结构的保护和利用也宣示着其历史与当下的统一。意大利的当代艺术同样生发于历史的“废墟”之中，从贫穷艺术的废墟属性，到意大利各种历史性替代性空间中展陈的当代艺术。意大利的人文景观常常是叠层压缩的，是一种“时间的空间化”，这种叠加的意义超越了时间，让我们以跨时空的视角重新看待博物馆空间与艺术史叙事。

The collection and display of antiquities in past dynasties constitute the richness of today's Italian cultural heritage landscape. The transformation from ancient temples to multi-laminated Christian churches, as well as the off-site display and reuse of the ancient relics, building components and paintings, all mark the integration of the "history" with the "present" with a specific meaning. Whether spolia or addition, Italian paintings and architectural spaces are probably the best fields to experience the condensation of history into the present, while the preservation and utilization of old structures in modern and contemporary architecture in Italy also shows the unity of history and the present. Contemporary art in Italy is also born in the "ruins" of history, from the ruins attribute of Arte Povera to contemporary art exhibited in various historical alternative spaces in Italy. The cultural landscape in Italy is often laminated and compressed, a kind of "spatialization of time", the meaning of this lamination transcends time, making us re-view the space of museum and the narrative of art history from a perspective across time and space.

罗马圣克莱门特教堂结构

The structure of the Basilica of San Clemente in Rome

展示在锡耶纳考古博物馆中的当代影像装置作品

Contemporary video installation at the Archaeological Museum of Siena

马尔滕·范·海姆斯凯克，《梵蒂冈方尖碑》，1535年

Vatican Obelisk by Maarten van Heemskerck (c. 1535)

朱塞佩·瓦西的一幅蚀刻版画，描绘了试图发掘太阳方尖碑碎片的场景

etching by Giuseppe Vasi that features an attempt to unearth the fragments of the Solar obelisk

位于罗马的Palazzo Mattei Di Giove内院侧立面

Roma, Palazzo Mattei Di Giove, cortile, facciata laterale

讲者简介

About the lecturer

高远

中央美术学院艺术学博士，清华大学艺术学理论博士后出站，任教于北京工业大学艺术设计学院传媒与艺术理论系，主要从事欧洲艺术史、现当代艺术理论、展览策划研究。主持策划30余次学术展览项目；曾受美国盖蒂基金会、王式廓基金会和“中国中青年美术家海外研修工程”资助，赴哈佛大学意大利文艺复兴研究中心（Villa l Tatti，2014）、巴黎德国艺术史研究中心（DFK Paris，2017）、佛罗伦萨艺术史研究所（KHl，2018）访问研究。

Gao Yuan

PhD in Art History from the School of Humanities, Central Academy of Fine Arts, and a post-doctoral fellow from Tsinghua University, teaches at the Department of Media and Art Theory, School of Art and Design, Beijing university of Technology.  He has curated more than 30 academic exhibitions, and has been sponsored by the Getty Foundation, Wang Shikou Foundation and the "Overseas Research Project for Chinese Artists" to visit The Harvard University Center for Italian Renaissance Studies（Villa l Tatti, 2014）, the German Center for Art History Paris（2017), and Kunsthistorisches Institutin Florenz (KHl, 2018).

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