普通人参与的行为艺术:这些联系

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查看9660 | 回复1 | 2014-9-27 09:53:24 | 显示全部楼层 |阅读模式

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在网上搜索有关英国伦敦泰特现代美术馆的资料,偶然发现一张照片似曾相识,它揭开了我一直以来的一个谜团。5 O& p' `& t& l& q' L. t2 P
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! p1 _; {% Q, X/ w2012年的8月5日,我随着 “创意城市·2012伦敦美术大展” (展出地点在伦敦巴比肯艺术中心)代表团的画家们,参观泰特现代美术馆,在参观结束准备离开时,外面下起了小雨,于是我们暂且滞留在 “涡轮大厅” 等候雨停。
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9 T( E4 n9 U1 V% }0 b上图:大家都聚集在靠近门口处,随时准备出发。  z; L6 N4 \; h1 }
而我则拿着鱼眼镜头在涡轮大厅四处游走,随手找些画面。
7 [' A$ {$ }( ]3 L( K7 i不知不觉中,从某一角落聚集的十几个人忽然快步超大厅中央走来,他们的行走路线并无规律,有点好像群鸟在天空翻飞的样子。在他们疾走的过程中,不断有人加入,不到一分钟就聚集了大约四五十人,我当时想到的一个词是 “涌动” 。1 |5 W8 H! R2 D7 a
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忽然,他们走到了我跟前,并且围着我打转,其中有一个女孩停在了我的身边,开始对我讲话。由于我的听力一般,加之周围环境噪音,我不得不俯身侧耳,极力专注想听懂她所讲述的内容。周围的人则离开我们而继续疾步在涡轮大厅走来走去。过了一会儿,女孩讲完了她的故事离我而去,再度融入了她的队伍。我听出她似乎是在讲述自己的经历,但我不明白她这么做的目的。
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+ e; ]4 m; t! m+ j百无聊赖的我,继续等雨停,继续信手闲拍,继续欣赏他们的 “行为艺术”。
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雨停了,出了美术馆,我看到了这样一幅照片,我猜这是他们的宣传广告,遗憾的是我仍然没有找到答案。1 N" R) G# [2 X1 {
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今天我终于找到了下面这段文字,看了之后我才明白,这是一位德国艺术家迪诺·赛加尔发起的一个行为艺术,叫做 “These Association” (这些联系),属于由联合利华自助的系列项目。而当时给我讲故事的女孩是在邀请我参与其中:: x' [- M+ K  W) c& t/ s

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As the crowd moves forward, emerging slowly from the darkness at the rear of Tate Modern's Turbine Hall, I stand my ground. They are about 70-strong. As they surge around me, one young woman stops and, standing very close, begins to tell me about a childhood incident and how it has affected her view of life. The crowd leaves us behind. Should I turn and walk with her? She seems so intent.
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4 d* `$ d' o. e2 U: g( p  OAnother woman tells me about a lost love. Someone else, about how a book changed his life. The stories mostly concern private rites of passage and life-changing events and relationships. Things could get embarrassing, with all these confessions and revelations. These people act as if they know me. Suddenly we're plunged into a relationship. Then they're off again.+ P; G+ @. O  r: [2 j+ V
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These intimate, personal stories, lost words, unasked-for intimacies, heel-to-toe slow shuffles and wild runs up and down the ramp are all part of These Associations, which, their participants tell you, is a piece by Tino Sehgal, dated 2012. I have seen many of his works, from the gallery attendants who burst into song, singing "This is so contemporary, contemporary, contemporary" in the German Pavilion at the 2005 Venice Biennale, to This Variation, in the current Documenta in Kassel, which involves song, dance and mini-lectures to an audience who stumble about in a darkened room.* T# N( S5 C$ p) k

1 O. v) i7 C, ^! H- l$ pThese Associations is no less complex, affecting and disconcerting. At one point the walk speeds up and I am running to keep up with the story I am being told. Then the crowd whirls like a hive of maddened bees. Now they all seem to be chasing an invisible rabbit. The light keeps changing along with the atmosphere and the performers' routines. At one point the performers loiter and sit, whisper and hiss and sing, coming together as a choir, their words soaring towards the roof. The words themselves – something about the technological age and nature, nature, nature, human nature – get lost in the echoing space.3 c, z& ]) j2 f, s* f
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Within an hour, on the first day, visitors are already joining in. Children run with the pack of performers and snake through Sehgal's milling throng. Soon, I am sure, visitors will be mingling with performers and tell their own stories. We're all participants now. A bystander said: "This is Tino's opera." We're on stage too.8 b' c% b( S" M* }8 o5 w7 N
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I could barely drag myself away to write this, and I cannot wait to get back. These Associations is a great antidote to the ever more spectacular, large commissions the Unilever Project has produced. It is also a rejoinder to all the brouhaha and corporate fascism and jingoism of the Olympics.
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These Associations is one of the best Turbine Hall commissions. There are no objects: we are the subject. It is about communality and intimacy, the self as social being, the group and the individual, belonging and separation. We're in the middle of things. It is marvellous.
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路遥 | 2014-10-28 11:25:03 | 显示全部楼层
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