Acting Alone
單獨行動



Interview with Richard Wilson

專訪藝術家理查德·威爾遜


TEXT BY 撰文 x Rajesh Punj 瑞傑希·龐治
TRANSLATED BY 翻譯 x Bowen Li 李博文
IMAGE COURTESY BY 圖片提供 x Richard Wilson 理查德·威爾遜

Richard Wilson with his sculpture Slipstream at Heathrow's new Terminal 2 The Queen's Terminal. Photograher Anthony Charlton

Artist Richard Wilson RA in front of Slipstream at Heathrow’s new Terminal 2 © LHR Airports Limited. Photographer Anthony Charlton.

Slipstream is one of Richard Wilson’s most innovative projects to date. Originally based on the induced motion of a car rolling over, translated into the aeronautical endeavour of a small propeller plane turning through the air at high altitude; Wilson’s elevated aluminium clad sculpture, twists through the central space of the redesigned new terminal building like an elongated spacecraft settling for earth. And as the motive for our meeting, this titanic sculpture serves to facilitate what is a remarkably candid conversation about his original appetite for the grandiose scale of American sculpture, and of its influence upon his more substantial interventionist works. His indicative need for a ‘wow’ factor when drawing an audience in, and of his wish to redress the notion that his works are in any way acts of ‘vandalism’. Throughout Wilson advocates for more rudimentary principles, referring to ‘honesty’ and ‘integrity’, ideals that he argues are slipping away from a lot of leading artist’s practices now, in favour of more commercial interests. All of which makes Wilson a sculptor in the purist sense.

《尾流(Slipstream)》是英國雕塑家理查德·威爾遜最為大膽的作品。這件巨型雕塑作品模擬了機動車在路面翻滾以及小型螺旋槳飛機在高空航行的動態。像是一架宇宙飛船準備降落地球一般,巨型鋁製雕塑《尾流》扭曲地漂浮於倫敦西斯羅機場新航站樓之中。從這件作品開始,我們與威爾遜討論了他對美國巨型雕塑的偏愛,以及這風格對他充滿介入感的大型雕塑作品的影響;他對公眾積極反饋的需要,以及他對作品的破壞性的辯護。威爾遜在這次談話之中大量提及了如誠實或尊嚴等基本創作原則。對他來說,許多成功的藝術家已經放棄了這些原則,並更多地尋求商業利益。這一切堅持為威爾遜保持了雕塑藝術家身份的純粹性。

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ART.ZIP: Possibly we should begin by your explaining and exploring the significance of your new work, ‘Slipstream’, and of how important the scale of this work is?

ART.ZIP: 我們或許應當從您的新作品《尾流》開始。請您給我們講一下這件作品的寓意,以及創作規模的意義。

RW: It’s an interesting question relating to scale, because first of all the obvious question people will say is it’s ginormous, why? And you have got to understand I have spent a good part of my professional career as a sculptor; dabbling with architecture, playing with architecture, undoing it, and therefore I’ve had to take on that scale. Therefore if you have an idea about spinning a facade, you don’t do it as a six foot piece. A facade is looking at the extremities and thinking what will the budget allow for? So obviously architecture is a dedicator for scale, and the other thing is the canvas that I was given, which is the empty void of the covered court area. Which is supported in the middle by eleven columns, and in relation to the brief that I was given, was that the sculpture could only be supported off of the columns. So I have only used four of them, and I have probably used just over a third of the supports for the ceiling.

So in that respect it’s not a very big sculpture; but it is big when you see it. And it’s to do with human scale, non-human scale, and architectural scale. So I’ve worked with the scale of the room, and I’ve worked with the scale of the interior of the architecture. It’s not as big as the building; it’s only in one third of the building. You have got the car-park arrivals area from London, and then you have the covered court area, and you have the terminal. So I have got the middle piece; and I’ve taken four of the eleven columns of the middle piece, therefore it’s not a sprawling work that occupies three parts of the architecture, it only occupies one part of it. So in that respect I think it is right for where it is, and the size is right for where it is located.

And in terms of the visual people like to see exciting things, dramatic things, and things that are going to arouse them, and dazzle them in some way, and startle their imaginations, and I think I work on that level. It’s a little rude in the sculpture world, but I use it, and I suppose I use it because I am working a lot of the time in an environment where my audience isn’t well versed in an art grammar. Here we are at an airport where 20 million people a year come through this terminal, then they are not all going be au fait with the visual arts; they (the audience), have not had the training I have had, so I have to use something that gets that wow factor going.

RW: 創作規模是一個有趣的問題,因為這個作品對所有人來說都是巨大的。為甚麼?你要明白,我一直是這樣工作的:進入建築領域、使用建築元素、解構建築,因此自然地,創作規模是一個很重要的考慮因素。所以,如果你想要扭轉一個建築的立面,一個六英尺大小的作品並不足夠。任何一個西式建築立面都與極限有關,當然也與預算有關。所以理所應當地,建築總與“規模”息息相關,而我能夠使用的創作空間就是候機樓巨大的中庭。中庭里有十一根承重柱,我的作品只使用了其中的四根,只佔用了三分之一的天幕支撐。

所以,在這個意義上來說,這件作品並不是一個無比巨大的雕塑;但親身體驗這個雕塑時你還是會感覺到它的龐大。這與人體大小、非人體尺度以及建築規模有關。創作的規模根據空間的尺度以及建築內部大小進行調整,我只使用了整體建築的三分之一左右,而不是整個建築的全部空間。整體建築包括停車場、中庭以及候機樓。我只使用了整體建築的第二部份,借用了四根立柱,所以這不是一個盤踞著整個巨大建築的雕塑作品。我想,在這個意義上,這個雕塑適合這個空間,大小合宜。

視覺上,人們喜歡令人興奮的、戲劇性的、聳動性的、能夠讓人暈眩、激發人想像力的東西,我覺得我在基於這樣的標準進行創作。對於雕塑界來說,這樣的創作可能有些粗魯,但是我必須這樣做,因為我經常要在一個非專業藝術語境中進行創作。這个候機樓每年接納超過兩千萬來自世界各地的旅客,我們不能指望每一個旅客都熟悉當代視覺藝術。他們沒有接受過我曾接受過的訓練,而我要為了讓他們興奮而創作。


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