艾未未——奇幻庄园 | 泰宫-曼托瓦
http://www.zhuokearts.com 2015-05-29 新闻来源:在3画廊
艺术家:艾未未 、 
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  艾未未------奇幻庄园
  泰宫------曼托瓦
  07/03/2015-----06/07/2015
  艾未未是一位卓越的艺术家,这不仅仅是因为他非凡的生活经历和他的艺术作品的深度,更多的是他希望源源不断的做出新的挑战的愿望。
  这个“动物庄园”展览是由意大利Origini主办,和曼托瓦的市政厅以及北京的在3画廊协办,由SandroOrlandiStagl和棉布策展,展览将从2015年3月7号到6月7号(ps: 最新消息因展览的极大反响和成功,应曼托瓦市市长的要求,将把展览延长到7月6号)在曼托瓦的16世纪的Gonzaga 家族的别宫泰宫举办。这座宫殿是意大利文艺复兴时期建筑师朱利奥?罗曼洛(Giulio Romano)的典型代表作品。在这里展出的是艾未未最近的展现其自我想法的全新作品。
  这次展览还有其他两位中国艺术家参展但主要其中在艾未未的作品,这位艺术家把想要把他自己放置在多媒体的时代和文化中,将他们融合并给予其非常明显的社会关怀。

马  

  走进展览的第一个房间—马房,映入眼帘的是巨大的马厩,在这个马厩里,我们可以看到马群。他们是在墙上的有着鲜艳颜色的马,或是陈列在房子中间摆成矩阵的,有着亮丽颜色的马群。这里我们说的是采用唐三彩的雕塑作品,一共有91匹马,每一列按照色彩一共13列。以唐朝来说,经常被拿来与意大利的文艺复兴时期来比较的是相似的开放和革新精神,杰出的陶瓷艺术生产成果,尤其是唐代的唐三彩技艺。然而,在艾未未的装置作品中,这些颜色被厚实的汽车油彩覆盖,或许这意味着在现代社会任何原创性的尝试都是无谓的。
  在接下来的房间里,两匹艾未未的的马,被分别放置在玻璃展示柜中,朝着李占洋雕塑作品,那里展示有一群羊,这次这些动物不是靠脚站立了而是互相靠在了一起,带着自己的个性独立着存在是不被允许的。

龙柱  

  在巨人大厅,整个墙面上画满了在巨人们试图在抵抗奥林匹克风暴,艺术家在地板上放了三根房梁柱,不同大小,不同颜色,上面有雕刻中国传统的龙纹。这些是中国传统建筑的房梁,相当于西方建筑的圆柱。然而,在这个房间展示的却是一副倒塌毁灭的景象,因此,这里的倒塌不只是建筑上的,更是一个社会房梁的倒塌。

龙柱  

  上面有亮丽的艺术颜料的三根钢条有着明显的吸睛作用,它们陈列在末端的几个房间之一的玻璃展示柜中,事实上它们来自2008年汶川大地震毁坏的建筑,例如学校。代表着成千上万的遇难者,颜色无法做到标识恐惧,但至少可以强调一下。
  还有,试着想要把150吨重来自同一建筑的钢铁拉直的尝试,被展示在“直线”装置的有一个顶端(2013年威尼斯双年展)这个尝试成为为数不多的充分达到其预期目标的一个例子,其目标是:揭示什么正在发生,引起公众关注从而预防类似的悲剧在未来重演。
  艾未未的作品并不单单是人们用肉眼看到的那么简单,他们是在一个可以被称之为“奇幻”的花园的宏伟幻像,之所以称之为奇幻是因为在这里我们可以思考,比较,如果有必要,我们甚至可以向预设好秩序发问。

  AI WEIWEI - THE ENCHANTED GARDEN
  PALAZZO TE - MANTOVA
  March 7th 2015 – June 6th 2015
  Ai Weiwei is a great artist, not only for his extraordinary life experiences and the depth of his works, but mainly for his boundless impetuous desire to take on new challenges.
  The “Enchanted Garden” Exhibition conceived by Origini, organized in cooperation with the Municipality of Mantova and the Beijinger’s Being3 Gallery, curated by SandroOrlandiStagl and Mianbu, taking place from 7th March to 6th June 2015 in Mantova's sixteenth-century Gonzaga's pleasure palace “Palazzo Te”, a fine example of the Italian Renaissance designed by the architect Giulio Romano, is a further recent demostration of Ai WeiWei's desire to try himself.

龙柱  

  The Exhibition is also dedicated to two other artists but it mainly focuses on Ai Weiwei, an artist who is proving again his desire to confront himself with different media, eras and cultures, mixing them together with a clear social concern.
  The first room of the Exhibition, the Horse Room, is of great significance giventhat the palace originates from its stables; here we can actually find some horses. They are both painted in fresco on the walls and placed in the middle of the room in the form of ceramic sculptures painted with gaudy colors. We are talking about ninety one copies of Tang dynasty sculptures, identical in size and shape split into thirteen rows according to their color. During the Tang era, a period that could be easily compared to the Italian Renaissance for its similar sense of openness and innovation, ceramic art produced outstanding results, also thanks to the sancai sculptures, painted with three colors. However, in Ai Weiwei’s installation these three colors have been covered with a thick coat of car paint, perhaps meaning that in contemporary society any attempt for originality is vain.

钢筋  

  In a following room, two Ai Weiwei’s horses, separately put in a glass display case,are conversing with the sculptures of Li Zhanyang, representing a huge sheep flock. This time the horses are not standing on their legs but lying on their side. Individuality along with originality are not allowed.
  In the monumental Giants Room, whose walls have been entirely decorated with frescoes depicting scenes of the battle between the Giants who attempted to storm Olympus, the artist has placed on the floor three wooden beams, different in size and color, carved with the traditional dragon pattern. The wooden beams are the backbone of the Chinese architecture, just as pillars are for the Western architecture; however, in this room they have been both represented in the form of ruins. As a result, it appears that there is a problem not only regarding the architectural backbones, but also the backbones of society.

钢筋  

  This becomes particularly clear in the three fragments of the iron bars which have been also painted using gaudy artificial colors and then placed in a glass display casein one of the last rooms of the exhibition.As a matter of fact, they represent the utterly rotten core of those buildings mainly used as schools, which collapsed during the 2008 Sichuan earthquake, claiming the lives of millions of victims. Color can’t disguise terror, at most can emphasize it.
  Likewise, the attempt to straighten 150 tons iron bars taken from the same buildings and placed one on top of the other in the “Straight” installation exhibited in the Venice Biennial 2013 still remains only a mere attempt that nonetheless fully manages to meet its real goal: denouncing what happened and increasing public awareness to prevent anything similar from happening in the future.

钢筋  

  Ai Weiwei’s works are not what they appear to be, they are magnificent illusions in a garden that can be called “enchanted” only because it allows us to ponder, compare and, if necessary, to question the pre-established order.


  Viola Morisi/文
  谢晓芳/译

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