

2016年,耶丁出版了新书《蓬杜·于尔丹,她和当代美术馆》(Pontus Hultén, Hon & Moderna)。这本书生动地刻画了蓬杜·于尔丹(Pontus Hultén),这位在欧洲战后现代主义艺术史上具有划时代影响力的瑞典策展人传奇的一生。作为斯德哥尔摩当代美术馆、蓬皮杜艺术中心和其他一些50年代后期至90年代重要艺术机构创始阶段的馆长,于尔丹以其开放的、实验性的,以及跨学科的视野,在这些美术馆的建制过程中发挥了开创性作用。这本书以于尔丹1966年策划的展览《她,一座教堂》(斯德哥尔摩当代美术馆,1966)(She, a Cathedral, Moderna Museet, Stockholm, 1966)为主线,展开对于尔丹的策展思想的研究,同时也深入剖析了上世纪60年代欧洲的艺术文化和社会语境。
在小汉斯的《如何策展》(Ways of Curating, 2014)一书中,他的最高赞赏给予了三位对他来说是“教父式人物”的策展人。其中一位便是蓬杜·于尔丹。


这个经典问题与犯罪有关。主要问题通常是:谁是小偷、凶手或骗子?但是,侦探必须深入调查案件,并问:这件事发生了吗?它是如何发生的?为什么会发生?动机是什么?而当谈及一个展览时,这些问题也许同样适用。通常的答案是,艺术家生产艺术作品,策展人在美术馆或画廊里完成展览,这一切不仅是为了满足观众,也为了向公众提示一些重要的、有启发的、或者有趣的事情。但如果你像一个真正的侦探一样,深入研究这些事实,就会发现其实这一切存在着不少疑点。比如说,一件作品可能植根于其它艺术作品,那么,这一作品的构成远远超过了单纯的材料;又如,策展人通过把作品置入一个复杂的框架结构中去进行策展,从根本上改变了作品的性质。在这种情况下,也许策展人才是主要的艺术家?更进一步说,一个既定的艺术圈的看法是,在享有盛名的艺术空间展出的艺术作品必定具有高品质。诸如此类……
当然,对艺术和艺术展览的本质进行探讨的方式是多种多样的。本次讲座讨论的重点放在了艺术家和策展人的共同实践及其理论上。提出“对话关系”的俄罗斯哲学家哈伊尔·巴赫金(1895-1975),是一位有助于这些讨论的人。他曾以此来谈论人的存在和‘人之所以为人’的本质,并由此波及到艺术和文学。将他的这一理论运用到策展上,似乎也收获颇丰。另一个与对话密切相关的重要概念则是巴赫金提出的“狂欢化”。最后,在本次讲座中,这两个概念将用来对一个经典的展览/装置作品《她,一座教堂》进行解读,此次展览的艺术家是妮基·桑法勒(Niki de Saint-Phalle)、让·丁格力(Jean Tinguely),佩·奥洛夫·伍尔特维德(Per Olov Ultved),策展人是蓬杜·于尔丹。

This classic question concerns crimes. The main questions are usually: who is the thief, the murderer or the imposter? But the detective has to go deeper into the case and ask: were did it happen, how did it happen and why do it happen, what was the motive? And these questions could also be asked when it comes to an exhibition. The conventional answer is that the artist made the artwork, the curator put the exhibition together in a museum or gallery and the reason for it all is to please the audience and to point out important, amusing and interesting matters. But if you, like a true detective, goes deeper into these facts it becomes clear that it is not clear at all. The artwork might for example be influenced by other art works and in this respect is constructed by much more than the sheer material. And the curator has curated the work by putting it into a complex construction, which changes its character fundamentally. Is maybe the curator the main artist in this case? Further, the art space is very well respected which means that the art work is of high quality, seen from the angle of the established art world. And so forth.

There are of course many different ways to talk about and discuss the nature of art and art exhibitions. The lecture will focus on both the practise of the artist and curator as well as on theory. One very useful philosopher when comes to these matters is Mikhail Bakhtin (1895-1975) and his notion of dialogical relations. He uses it to both talk about the extistential aspect, what it means to be a man, as well as about art and literature. It seems very fruitful to also apply it on exhibitions as such. Another important concept Bakhtin put forward was the one of the carnival which is closely related to the dialogue. Finally, these two concepts will, in this lecture, be applied on the classic exhibition/installation, She, a Cathedral, Moderna Museet, Stockholm, 1966. The artists were Niki de Saint-Phalle, Jean Tinguely and Per Olov Ultved. The curator was Pontus Hultén.
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关于OCAT研究中心
OCAT研究中心是OCAT在北京设立的非营利性、独立的民间学术研究机构,是OCAT馆群的有机部分。它以研究出版、图书文献和展览交流为主要功能,研究对象包括古代艺术和自上世纪以来中国现当代主义的视觉艺术实践,研究范围包括艺术家、艺术作品、艺术流派、艺术展览、艺术思潮、艺术机构、艺术著述及其它艺术生态,它还兼顾与这一研究相关的图书馆、档案库的建设和海外学术交流,它也是OCAT馆群在北京的展示平台。
OCAT研究中心旨在建立一种关于中国现当代艺术的“历史研究”的价值模式、学术机制和独特方法,它的学术主旨是:知识、思想与研究,它提倡当代艺术史与人类精神史、观念史、思想史和视觉文化史整体结合的学术研究传统和开放的学术研究精神,关注经典艺术史著作的翻译出版与现当代艺术史与古典艺术史研究的学术贯通。







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