[推荐]永不落日：《天气计划》装置

苏文祥

Experiencing the work
This project is linked to Eliasson’s fascination with the way museums mediate the reception of art. In a museum, visitors are offered an array of information before they even see a work of art – from the marketing poster and press reviews to the interpretation text panel on the walls of the gallery. Eliasson recognises that this information influences the experience and understanding of the work. In this project he decided to direct these less overt aspects of making an exhibition, so that the experience of the work would be left as unscathed as possible for the viewer. He conducted a survey of staff at the museum, posing a series of questions ranging from the everyday to the abstract (‘How often do you discuss the weather?’, ‘Do you think the idea of the weather in our society is based on nature or culture?’). The statistical data gathered from this study was then used in the promotional campaign for the exhibition. Instead of photographs of the work, simple statements about the weather can be seen on advertisements in magazines, taxis or on the internet. Eliasson carefully chose information which would not prejudice or influence the visitor’s expectation of the work of art: ‘I think there is often a discrepancy between the experience of seeing and the knowledge or expectation of what we are seeing’.

The way in which Eliasson’s works harness the precarious and fleeting aspects of the natural world might initially evoke the spiritual and emotional attachment to nature found in the Romantic tradition. Yet the transcendent experience at the core of this tradition is disrupted in Eliasson’s work by exposing the structure and apparatus delivering the installation: ‘The benefit in disclosing the means with which I am working is that it enables the viewer to understand the experience itself as a construction and so, to a higher extent, allow them to question and evaluate the impact this experience has on them.’ For this reason, as well as Eliasson’s subversive engagement with the construct of the museum, in The Weather Project there is the opportunity to walk behind ‘sun’ to see the sub-structure and electrical wiring, as well as the machines distributing the fine mist.

Eliasson’s impressive installation draws attention to the fundamental act of perceiving the world around us. But, like the weather, our perceptions are in a continual state of flux. The dynamic variations in the composition of the ephemeral elements of The Weather Project parallel the unpredictability of the weather outside, which despite the efforts and sabotage of humankind still remains beyond our control.

展场中的所有东西都在这颗人造太阳的光辉下都被映照成橘黄色，带着微微的黑色阴影。
　　伦敦天气多变化，出门时还是好好的，但可能还没走到车站，天气就已经从太阳高照变成倾盆大雨，还来不及拿雨伞就已经被淋湿了。正因为此，天气成为伦敦最热门的话题之一。Tate Modern (泰特现代美术馆) 的新展览是由丹麦籍的艺术家Olafur Eliasson 特别为 Tate Modern 的 Turbine Hall(涡轮室) 量身订做的装置艺术。泰特现代美术馆以前是座发电厂，这个展览场的位置刚好是当初发电厂的涡轮室， 为了不让大众遗忘这栋建筑的历史，泰特现代美术馆决定将此展览场命名为 Tubrine Hall (涡轮室)。
　　Eliasson本来就善于利用天气为创作资源，又发现天气是伦敦文化那么重要的一部分，于是就决定用两百多盏路灯灯泡来做一颗大型的人造太阳。太阳的表面是一块特制的塑料板，将所有的光融合成为一体，悬挂在高达35米的涡轮机大厅中，照亮整个展场。展场中的所有东西都在这颗人造太阳的光辉下都被映照成橘黄色，带着微微的黑色阴影。
　　空中迷漫着的白雾，看似从门口的泰晤士运河慢慢的飘进来的，其实是从墙边的柱子下面的干冰机中缓缓喷出的。空中漂浮的雾渐行成云，驻留良久才渐渐消失。我当时已经完全忘了自己还在美术馆内，因为整个气氛就和像在高山上看夕阳一样。Eliasson 说那些雾气所形成的云和天气一样独特，一样变化莫测，不可预料，那就是天气有趣的地方。
　　我把包包往旁边一丢就往地上一躺。我这一躺可是躺对了！这一躺才发现天花板上贴满了镜子，涡轮机大厅不但感觉起来更高，而且看起来像没有屋顶，给人一种看得到天空的错觉。之后再仔细一看才发现原来那个大太阳只有一半，另一半是靠镜子反射而成的!　从镜子里，我不仅可以看到躺在天空中的我，还可以偷偷地看到四周每个人的一举一动，很有趣!　
　　策展人Susan May 说这件作品上面的镜子让人看到自己，看到周遭的空间，也因此警惕着人们与周遭，与世界的互动，可能小小的一个举动都会被别人看得一清二楚。
　　四处可见小孩在玩捉迷藏，也有着一家三代躺在地上，一边用身体做着一些奇特的形状，一边笑着镜子里反射的自己。成群的学生聊着天，吃着三明治，看累的老人就地睡起了午觉。
　　泰特现代美术馆教育部的一个小组专门为这件作品办了一个小型的现场讨论会。当然，跟许多当代艺术的讨论结果一样，每个人发表出的意见都相当不同。有的人说这是他这辈子看过的最酷的作品，有人整个讨论过程中都陶醉地看着那颗太阳，也有人脸色苍白地说过多的橘色令他发昏。
　　这件作品不只建立起了人与作品之间的关系，也同时带动了人与人之间互动；每个来参观的人藉由镜子的反射成为了作品的一部分，并处处可见人们聊着天，讨论着种种的话题。
　　1967年生于丹麦的Eliasson毕业于哥本哈根的皇家艺术学院，现在生活在柏林，他向来以大胆而奇特地利用天然材料而出名，他之前的作品用过各式各样的材料如：光、雾气、热气、湿气、蒸气和冰等等，而且每件作品几乎都是超大规模！1998年， 他将大量的无毒绿色染料倒入斯德哥尔摩的Strommen River 中，将河水暂时洗成了绿色。他的疯狂举动还包括把天然的瀑布倒流，让美术馆大厅一半的地板结冻改成溜冰场等等。几乎每一件Eliasson 的新作都会造成当代艺术界的热烈讨论，当然，这次也不例外!这件名为《天气计划》的作品 将展到明年三月，由于这件体量巨大的作品是为泰特量身定制的，所以这也将会是这件作品唯一的展出地点。




























Biography
   
  Olafur Eliasson 2002
Photo: Andrew Dunkley
© Tate Photography  

Olafur Eliasson was born in 1967 in Copenhagen, Denmark of Icelandic parentage. He attended the Royal Academy of Arts in Copenhagen from 1989 to 1995. He has participated in numerous exhibitions worldwide and his work is represented in public and private collections including the Solomon R Guggenheim Museum, New York, The Museum of Contemporary Art, Los Angeles, the Deste Foundation, Athens and Tate. Recently he has had major solo exhibitions at Kunsthaus Bregenz, Musée d’Art Moderne de la Ville de Paris and ZKM (Center for Art and Media), Karlsruhe and represented Denmark in the 2003 Venice Biennale. He currently lives and works in Berlin.

更详细可参看泰特美术馆http://www.tate.org.uk/modern/exhibitions/eliasson/understanding.htm

罗倮

好！

井井回

我也喜欢这个。

一头芒果

上去

客人

真好

苏格拉底

没得说！！