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Art Basel Miami 迈阿密贝塞尔国际现代艺术博览会专题 |
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Special Introduction to Art Basel Exhibitions and Events |
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贝赛尔迈阿密国际现代艺术博览会掠影 Art Basel Miami Beach，Photograph by Coral Hou and Weisheng Zhong |
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2009美国贝赛尔迈阿密国际现代艺术博览会 Art Basel Miami Beach 2009 |
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2009年12 月3日至6 日在佛罗里达举行的贝赛尔迈阿密国际现代艺术展 (Art Basel Miami Beach) 是美囯最重要的现代艺术博览会。她也是过去40 年来世界最享盛誉的瑞士贝赛尔艺术博览会（Switzerland’s Art Basel ）的姊妹展。本届迈阿密贝赛尔国际现代艺术展综合选择了来自北美洲、欧洲、亚洲、拉丁美洲及非洲的250 家全世界最顶极画廊与展览机构所代表的2000 多位艺术家的作品。这些画廊都代表本地区（国家）最富盛誉的当代艺术机构，如纽约市的Pace Wildenstein , Cheim & Read，James Cohan Gallery, 柏林市的Galerie Max Hetzler, Klosterfelde Gallery, 巴黎市的Galerie Chantal Crousel，上海及北京市的ShanghART Gallery 等。由这批世界著名的艺术经纪人带来的艺术家中有些早己是家喻户晓的大师，有的却是代表世界当代艺术未来的新秀。特别展区将介绍新兴画廊、表演艺术、公众艺术项目及影视艺术作品。这次展览对于艺术爱好者与收藏家来说是一个重要的资源，他们可以在这里发现当代艺术发展的新动向并欣赏和收藏博物馆级的艺术珍品。这次展览中风格多样的艺术作品以及迈阿密海滨冬季温暖的阳光将为来自世界各地的收藏家，艺术批评家、艺术经济人、策展人和热情的艺术爱好者们提拱足够的享受。本次展览共吸引了四万二千多名观众，他们当中包括来自全美及世界各地的艺术品收藏家、博物馆主管、艺术评论家。策展人以及文化记者等。大批著名艺术家们也前来观摩，他们之中有：Chuck Close, Ingar Dragset, Claire Fontaine, Matthew Day Jackson, Kris Martin, Marilyn Minter, James Rosenquist, Fred Tomaselli, 艾未未, Pae White, Kehinde Wiley等。在这四天里，共有100多家美术博物馆及艺术机构的团体前来观看本届，也是第八届贝赛尔迈阿密国际现代艺术博览会。
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2009美国贝赛尔迈阿密国际现代艺术博览会作品选介 Art Basel Miami Beach 2009 |
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Photographs provided by Art Basel, Courtesy Art Basel |
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画廊展示项目选载 Selected Works by Participating Galleries |
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请点击画面放大图片 Please click the icon images to enlarge photos. |
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Galerie Max Hetzler | Berlin |
Pace Wildenstein | New York |
Cheim & Read | New York |
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Klosterfelde | Berlin |
ShanghART Gallery | Shanghai |
Galerie Chantal Crousel | Paris |
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Stephen Friedman Gallery | London |
James Cohan Gallery | New York |
Salon 94 | New York |
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公共艺术展示项目选载 |
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本届公众展示项目首次由墨西哥策展人Patrick Charpenel策划，十三位来自八个国家的著名艺术家参与了这次集体户外公开展览。艺术家们的作品被安置于迈阿密海滩的户外地区，主要集中在靠近海滨的展览中心地带。这些作品直接地与观众和路人接触，它们以诗意般含蓄，时儿又令人震撼的语言来反映人们的日常生活内容。下面是从中选载的三件作品。 |
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Selected Pieces of Art Projects: 3 of 13 public art works in Miami Beach Art Projects, curated this year for the first time by Patrick Charpenel of Guadalajara, Mexico, features 13 projects by internationally renowned artists from seven coun-tries. The projects will be installed in the outdoor public spaces of Miami Beach, within close proximity to the Oceanfront area and the Miami Beach Convention Center. These works engage directly with the spectator, interrupting the daily routine of passersby in poetic and surprising ways. |
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“资本主义扼杀爱”Claire Fontaine: Capitalism Kills (Love), 2009 |
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市场经济基于物质化商品交易，它使社会与文化结构产生活力。艺术的那种神圣般的仪典以及象征化的空间己被减少到最低程度，被严格地限制在技术性通讯的形式里。这种物质力量摧毁了艺术家们的幻想和世界上最丰富的情感。“资本主义扼杀爱”这一语道出了在当代的社会条件下己没有爱的空间。作者 Claire Fontaine 目前工作并居住在法国巴黎市。 |
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For the artist collaborative Claire Fontaine, the market economy operates based on the exchange of material goods that reinvigorate social and cultural structures. The symbolic space and rituals of art are thus reduced to their minimum expression, limited to strictly technical communication. This material force annihilates fantasies and the most profound sentiments of the world. “Capitalism kills love” is the sentence embodying this contemporary condition in which there is no space for love. Claire Fontaine (2004, Paris), artist collective lives and works in Paris |
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“ 黑色马林鱼” Gonzalo Lebrija: Black Marlin, 2009 |
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在这件装置作品中，Lebrija创造了一座超现实主义风格仿真尺寸的马林鱼雕塑。它的材料是玻璃纤维与镀铜。这件作品被穿越墙壁而垂直地固定起来，看上去就象是悬浮在半空中一样。这件作品的构思是Lebrija与另一位墨西哥艺术家Eduardo Sarabia在一次野外垂钓的探险旅行中产生的。它借用了动物标本的剥制方法，以悬浮作品的方式来表达人凌驾于自然的主题。Lebrija 讽刺性地以浪漫的情调将马林鱼的轻盈美感作了夸张的塑造，它看上去比在现实的海洋里更多姿，但却己是一具貌似有地心引力而不坠落的艺术作品。作者 Gonzalo Lebrija 目前工作并居住在墨西哥 Guadalajara 市。 |
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For this installation, Lebrija has created a sculpture of a hyper-realistic, life-sized marlin. Constructed in fiberglass and bronze, the work is fitted to pierce a wall perpendicularly, appearing to be suspended in mid-air. Conceived while on a sport-fishing expeditionwith Guadalajara-based artist Eduardo Sarabia, this work borrows from the practice of taxidermy. In making a reference to the theme of Man over Nature, Lebrija romanticizes the fish itself, exaggerating the elegance and lightness of the animal in its natural environment by way of the ironic removal from that milieu and placement in a foreign setting with a gravity-defying installation. |
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Gonzalo Lebrija (1972, Mexico City), lives and works in Guadalajara, MX |
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“欲念” Deseo, 2009 |
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“Bohios” 是指在古巴一些地区的简易住所，这类在郊区林立的建筑物正沿加勒比海地巴区扩伸，它们是一种最经济的住房。画面上这间被作者 Jorge Mayet 称为 “ 欲念 ” 的寮棚就是上述住所的一种复制品。但不同的是这间特殊的小屋是飘浮在迈阿密海滩边的洋面上，它面对着岸边豪华的酒店大厦遂着波浪而摆动。 Jorge Mayet 的观念是把一排排高大的豪阔旅馆与一亇摇晃不定的窝棚相并列以成鲜明的对比。从这亇对比里我们一方面可以看到令人神往的天空、金色的沙滩背衬着辽阔的大海以及岸边那些令人印象深刻的渡假酒店宾馆 ; 而 另一方面，在我们的眼前却是一间在波浪里摇晃不定的棕皮顶小屋。作者复制这间小屋的目并不是想与对面那些辉煌伟大的建筑物形成一亇形态上大小悬殊的对比，而是要揭示一种通常观念 : 这类窝棚从来都不会用来住人。而事实上它们在那里存在着，并成为世界上许多人仅以为生的居所。此作品象征着一具” 骷髅建筑 ” 在接待着死亡者们的灵魂。作者 Jorge Mayet 目前工作并居住在西班牙 Palma de Mallorca 岛上。 |
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'Bohios' are the characteristic 'domus', or traditional Cuban dwellings. These rural constructions are spread all along this Caribbean territory and are in fact the most economic type of housing. The hut called 'Deseo' (desire), by Jorge Mayet, recreates this type of construction, but in this particular case the house is floating on the sea in front of Miami Beach's luxury resor t hotels. Mayet’s concept is to confront and juxtapose these luxurious buildings in the hotel area with the modest and unstable shack. On one side we find the sky, the sea, and the impressive hotel complex, on the other side, the 'floating house' with its palm tree rooftop. The purpose here is to position both constructions in the same socio-cultural context. In any case, the little shed was not created in order to be contrasted with what is monumental and titanic. It is not even an object introduced with the idea of being inhabited. In fact, it is there to be dwelled in by the bodies that 'have been'. It is a sor t of architectural skeleton to host the souls of the dead.
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Jorge Mayet (1962, Havana) |
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本栏目撰写编辑人：喻干 |
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