COMMISSIONING CONTEMPORARY ART
《當代藝術委託指南》


.

A: So you co-write the book with Louisa Buck, what’s your role then?

D: I was writing about the legal aspects of commissioning, and I also did a lot of interviews, in a sense, the conceptual framework of why people commission today. So for example, I think commissioning is like a same thought of contemporary art, because commissioning practices are creating new things that don’t exist in the world, in often-different things like creating context at the galleries, and current exhibitions of museums exhibitions. So if you look at art organization like Artangel, which is commissioning not-forprofit production agency, commission all the projects of last two decades, extraordinary of Matthew Barney to Rachel Whiteread, all of these different artists generally made very interesting projects. There are new spaces though since commissioning is also entering the field of the collection.

There are two interesting projects discussed in the book of incredible novel and the important one is called Inhotim, which is in Belo Horizonte, Brazil. Inhotim is a museum privately owned by a steel magnate, Bernado Paz in Brazil. It’s set up as a museum and a landscape. And there aren’t any walls, everything is outside, if you walk through the jungle, and you’ll see the difference. In Inhotim there are many architectural structure of house, different commissions, the things like Doug Aitken, Matthew Barney, Lawrence Weiner, and they all have made projects which is specific for this place, or beyond, outside the space, being reinstalled, reformed within the context of Inhotim. So Inhotim is a very interesting model, which is also a model of a very interesting project.

Patrick Charpenel, Mexican curator, he’s organizing project for Agustin Coppel in Culiacán of Mexico, which is a drug war zone, and they are creating a commission structure which is based on a botanical garden. And this is for local people, so he’s commissioning amazing artists to make projects, like James Turrell, Franz West, Olafur Eliasson, all these amazing artists are backing to make projects for the Botanical Garden, in drug war zone of Mexico.

So one of the things about commissioning which I think it is important, it expands our inner sense of outside the white gallery cube space, so you have commissions and public spaces. I think one theme of the book is how commissions engage with place, in a sense of place, often with community, but being amazing trends and art where contemporary art is commissioning to a place like a land equips with his friends in Thailand, equips whole community projects which are all based on architecture which link to local landscape and surroundings.

And another projects like The Land organized by Rirkrit in Thailand, and the Quiet in the Land in Thailand, which was organized by France Morin from the United States, these ideas are even pushing the information in terms of immateriality or process how commissioning work link to situation. I think they are what artists trying to do, to think about art as situations, and commission has very important parts of saying arts for situation.

A:這本書你是與路易莎・巴克(Louisa Buck)合著的,你撰寫的部分主要是哪些呢?

D:我所寫的是關於藝術委託創作中會涉及法律的方面,我也做了許多的採訪,從某種意義上,就是人們現在為什麼要進行藝術委託項目的概念框架。舉例來,我認為藝術委託項目跟當代藝術的想法是如出一撤的,因為藝術委託項目是創造世界上並不存在的新事物,在很多情況下,譬如在畫廊語境下,在博物館展覽語境下創建新文本。所以像藝術天使(Artangel)這樣的藝術機構,它是非盈利的藝術委託創作中介,在過去二十年裡,從馬修・巴尼(Matthew Barney)到雷切爾・懷特雷德(Rachel Whiteread), 這些形形色色的藝術家都做出了非常有趣的藝術委託項目。藝術委託項目還是有很大發展空間的,因為它已經漸漸涉足收藏領域了。

書裡還談到了兩個非常有趣的項目,其中一個重要項目是在巴西的貝洛奧里藏特(Belo Horizonte),名為 Inhotim 。《Inhotim》是一家私人博物館,為巴西鋼鐵大王貝爾納多・帕斯(Bernado Paz 所擁有。 作為一所博物館和自然景觀,《Inhotim》沒有牆,所有作品都是露天的。當你穿過叢林的時候就會發現各種各樣的作品。 Inhotim 有各種建築結構的空間,各式的的藝術委託作品,譬如道格・艾特肯(Doug Aitken)、 馬修・巴尼(Matthew Barney)、 勞倫斯・韋納(Lawrence Weiner)等等的作品,這些藝術家都為《Inhotim》定製了新作品,無論是《Inhotim》範圍還是周邊,這些新作品在《Inhotim》的語境加入了新的文本或改變了原有的文本。所以我認為《Inhotim》是一個非常有趣的模式,同時也是有趣項目的一個範本。

墨西哥策展人帕特瑞克・卡潘諾(Patrick Charpenel)受奧古斯丁冦博(Agustin Coppel)委託在庫利亞坎(Culiacán 進行了一個藝術項目,名叫《植物園(Botanical Garden)》。庫利亞坎本是墨西哥一個毒品戰爭地帶,帕特瑞特別邀請了眾多藝術家為當地居民進行了這個植物園的藝術建構,支持該項目的藝術家包括詹姆斯・特瑞爾(James Turrell)、弗朗斯・懷斯特Franz West)、奧拉維爾・艾利亞松(Olafur Eliasson)等。

因此我認為藝術委託項目很重要的一點是, 它無限延伸了我們對画廊那種白色立方體空的想像,所以便成就了藝術委託項目與公共空間的結合。我覺得這本書的一個主題是委託創作是如何與空間相結合的,或者是某種意義上的空間,經常是與社區,但是藝術委託項目有以驚人的發展趨勢,並且是為一個特定地方而創作的當代藝術,比如在泰國的一片土地邀請上朋友,配備整個社區規劃,而這個規劃是建立在與當地景觀和環境相關聯的建築基礎之上的。

另一個項目,泰國的勒克里特(Rirkrit)組織的《土地(The Land)》這一項目,還有美國的弗朗斯莫林(France Morin)策劃的在泰國的項目《土地的寧靜(the Quiet in the Land)》,這些想法都是關於如何推動這些無形信息,如何將藝術與當地狀況聯繫在一起。我認為這些是藝術家想要實現的,把藝術當作一種局面,而藝術委託是這種局面很重要的一部分。


<<< 1 2 3 4 >>>