MGG现场｜“关于劳伦斯 · 韦纳”：玛丽安 · 古德曼画廊对劳伦斯 · 韦纳的纪念
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劳伦斯 · 韦纳 / 展览“关于劳伦斯 · 韦纳” 现场，玛丽安 · 古德曼纽约画廊，2022“关于劳伦斯 · 韦纳”
劳伦斯 · 韦纳 (Lawrence Weiner) ，艺术家，于2021年12月2日去世，享年79岁。假如是由他给自己构想讣告，估计会像这样：劳伦斯 · 韦纳（已死） (LAWRENCE Weiner（DEAD）)。玛丽安 · 古德曼画廊举办这场致敬展，以纪念劳伦斯 · 韦纳的生活和创作，他自1986年起就是画廊的一员。劳伦斯是纽约市土生土长的艺术家，从18岁左右开始就融入了城市中心的艺术环境。他最为人所知的是在60年代中期出现的观念艺术及构成它的美学因素的发展中发挥了突出作用。
劳伦斯 · 韦纳 / 展览“关于劳伦斯 · 韦纳” 现场，玛丽安 · 古德曼纽约画廊，2022
劳伦斯 · 韦纳 / 展览“关于劳伦斯 · 韦纳” 现场，玛丽安 · 古德曼纽约画廊，2022
他就像冷罗宋汤配热烤土豆一样，是一个带有冲突感的美国人。他太早就学会了阅读和书写。他跳过了幼儿园（这让他很难过），后来在10岁时声称埃米尔 · 左拉是他最喜欢的作家，并教会了他懂得浪漫。在成长的过程中，他曾涉猎天主教教义和犹太教的卡巴拉神秘主义。在发展一种基于与观众合作的艺术语言时，他参考了皮亚杰（Piaget）、罗素（Russell）和维特根斯坦（Wittgenstein）。他们对语言的见解帮助韦纳专注于所看到的文化景观。你可能会问，所有这些与一篇展览新闻稿有什么关系？这只是一个小小的尝试，希望通过一些源泉和残余来向你展现：一个精彩的生命，以及种种想法付诸实现的成果，它们被称为雕塑。或者我们也可以称之为观念艺术，或将其描述为辩证唯物主义。或者质疑者也可以称之为诗歌或废话。和大多数艺术家一样，韦纳也有批评他的人。他坚持“自己的”观念，即：“艺术不是基于人与物的关系或与人有关的物物关系的隐喻……”
劳伦斯 · 韦纳 / 展览“关于劳伦斯 · 韦纳” 现场，玛丽安 · 古德曼纽约画廊，2022
劳伦斯 · 韦纳 / 展览“关于劳伦斯 · 韦纳” 现场，玛丽安 · 古德曼纽约画廊，2022
玛丽安 · 古德曼画廊的展览展现了艺术家60年创作生涯的一些碎片。展览的入口处有韦纳最后的作品之一：日文和英文版本的《ENOUGH》（足够），在他去世后不久由他的工作室制作。主展厅内的三件作品，创作年代的跨度从1968年到2021年他去世前几个月。除此之外，展厅中间的四面镜子不是一件作品，而是他存在和创作的个人残余，因为他的生活里，而且也包括创作里，不能没有镜子。最后还有一件作品，是他为2007年在香港举办的展览而制作的救生圈，作品名为《REACHING FOR THE STARS PUT AIDE or PUT AWAY》（伸手摘星抛在一边或存放起来），后来被装在一个有机玻璃盒子里，盒子里还有“FOR USE IN CASE OF FLOODING”（防洪时使用）的文字。这件作品曾参加他2007年在惠特尼美国艺术博物馆、洛杉矶当代艺术博物馆和杜塞尔多夫K21美术馆的回顾展。劳伦斯 · 韦纳 / 展览“关于劳伦斯 · 韦纳” 现场，玛丽安 · 古德曼纽约画廊，2022
劳伦斯 · 韦纳 / 展览“关于劳伦斯 · 韦纳” 现场，玛丽安 · 古德曼纽约画廊，2022
旁边较小的展厅里展示的是韦纳在1990年代初设计的工作桌，此后他一直使用。桌上印有他长期以来的艺术创作精神：WHAT IS SET UPON THE TABLE SITS UPON THE TABLE（被置于桌上的现在立于桌上）。桌上放着一个平板电脑，显示了从艺术家几个笔记本中选出的页面。桌子对面是一面贴满海报的墙，展示了韦纳整个创作生涯中的图形构思范围。最后，展厅里还有一个1980年代中期制作的视频，于每天下午5点播放。这模仿了当时流行的日常生活电视节目；在韦纳的版本中，一个所谓的艺术家庭，两个父母，两个孩子，每个人，都过着“随着世界转动”（As the World Turns，当时的美国肥皂剧）的生活。贯穿于整个展览的，不仅有劳伦斯 · 韦纳的精神，还有过去他对玛丽安 · 古德曼、她的画廊工作人员的爱，以及她在他整个一生中持续不断的支持。而现在他超越了他的现在时（一种过去完成时态的静态生命？）。
劳伦斯 · 韦纳 / 展览“关于劳伦斯 · 韦纳” 现场，玛丽安 · 古德曼纽约画廊，2022
劳伦斯 · 韦纳 / 展览“关于劳伦斯 · 韦纳” 现场，玛丽安 · 古德曼纽约画廊，2022
Marian Goodman Gallery New YorkApropos Lawrence Weiner
4 May - 11 June 2022
Lawrence Weiner, Artist, passed away at age 79 on December 2nd, 2021. If he had constructed his own obituary, it would have looked like this: LAWRENCE WEINER (DEAD). Marian Goodman Gallery presents this tribute exhibition to commemorate the life and work of Lawrence Weiner, a member of the gallery since 1986. Lawrence was a New York City born and bred Artist, he had embedded himself in the downtown art scene since he was about 18. He is most known today for having taken a strong role in the development of Conceptual Art and the aesthetic parameters that constitute it, which emerged in the mid-sixties.As American as cold Borscht with a hot baked potato, he could read and write at too early an age. He skipped Kindergarten (which distressed him) and would later claim at age 10 that Emile Zola was his favorite writer and taught him about romance. As he grew up, he flirted with Catholicism and Kabbalah mysticism. While developing an art language that was essentially collaborative with his audience, he referenced Piaget, Russell, and Wittgenstein, whose ideas on language helped Weiner focus on the cultural landscape as he saw it.You may wonder, what does all of this have to do with an exhibition press release? It is a feeble attempt to show some sources and remnants of a life well lived, ideas brought to fruition that were presented as something called Sculpture. Or call it Conceptual Art, or describe it as Dialectical Materialism, or by sceptics, as Poetry or Bullshit. Weiner had, like most artists, his detractors. Weiner, persevered with his 'own' concept that: 'art is not a metaphor upon the relationship of human beings to objects and objects to objects in relation to human beings....'The scenario at Marian Goodman Gallery presents fragments of a 60-year career. The entrance door to the exhibition has one of Weiner's last engagements: an edition made in Japanese and English, of ENOUGH, produced by his studio shortly after his death. The main gallery presents three works made between 1968 to just months before his passing in 2021. In addition to these, a four-sided mirror stands not as a work but as a personal remnant of his being and making, for he could not live—and certainly could not work—without mirrors. And last, a life-saver, REACHING FOR THE STARS PUT ASIDE OR PUT AWAY, made for a 2007 exhibition in Hong Kong which was later enclosed in a plexiglass box containing the text FOR USE IN CASE OF FLOODING to include in his retrospectives at the Whitney Museum of American Art, Museum of Contemporary Art, Los Angeles, and K21, Duesseldorf in 2007.The smaller gallery holds Weiner's work table he designed in the early 1990s and had used continuously since. It is emblazoned with his long-held art-making ethos: WHAT IS SET UPON THE TABLE SITS UPON THE TABLE. Placed on top is a tablet showing pages from several notebooks. Across from the table is a poster-filled wall, evidencing Weiner's graphic range throughout his career. Lastly, THERE BUT FOR, a video made in the mid-1980s, plays plays everyday at 5 pm. Functioning as a daily-life TV show that was popular then; in Weiner's version, a pseudo Art Family, two parents, two children - one of each - live their lives' As the World Turns.' Lawrence Weiner's spirit is infused throughout this show, as was his love for Marian Goodman, her gallery staff, and her continued support of him throughout his lifetime.And now he is onto his present (a past-perfect still life?).
正 在 展 出 I CURRENT EXHIBITIONS
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