The Importance of Transcultural Studies
跨文化學習的重要性


Interview with Andrew Stahl
Head of Undergraduate Painting at UCL The Slade School of Fine Art
採訪倫敦大學學院斯萊德藝術學院繪畫本科課程主任
安德魯·斯塔爾

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ND7_5897Andrew Stahl’s often large-scale paintings approach cultural differences and connections using pictorial language, imagination and figuration. Images become vehicles to carry painterly the experimentation. Much of his work reflects on travels to Japan and Thailand and addresses the conflation of time, space and cultures that long-haul travel brings.

安德魯·斯塔爾的作品多以大型油畫為主,用繪畫的語言來表達對不同文化之間差異和聯繫的思考。他的作品承載了他對繪畫的思考和探索。在日本和泰國的旅行激發了他很多創作靈感,這些作品都表達了旅行給他帶來的各種雜糅了關於時間、空間以及文化等方面的思考。


ART.ZIP: Could you please introduce a bit of yourself?

AS: I am an artist, a painter. Everyone teaching at the Slade has their own practice. I actually went to the Slade as a student; after graduation I went to live in Rome on a scholarship for two years and on my return I started exhibiting my work widely at home and abroad, and started teaching at Chelsea College of Art. I taught on both the graduate and undergraduate programme there for 12 years. Then I came here to the Slade and have been running undergraduate painting for 14 years.

My practice is associated with painting; I would say my painting came out of a particular time at the end of the 70s when postmodernism surfaced and was part of the questioning of the modernist discourse. I experienced a number of early 80s painting shows that encouraged me to develop scale and more expressive possibilities within painting.

Since leaving college when I did the Rome scholarship I have been aware of the incredible opportunities that residencies offer so I’ve done residencies in China, Australia, and Sri Lanka funded by a number of bodies including the British Council; I have done a number of residencies in Thailand – one seemed to lead to the other – and I travelled on a Wingate Scholarship for quite a number of months around Thailand and to Laos, Cambodia, Burma, and Vietnam in the early 90s – I made a lot of works and came back to show here at the Angela Flowers gallery. I’m very concerned with the possibilities that the transcultural offers for artists and art. I found Asia – East Asia particularly – so full of energy and so exciting. I think art is like an international language, and artists can borrow from each other. It’s an exchange. In 2006 I was invited to a residency in Bangkok with three or four English artists and three or four Thai artists, and we all worked in the same space at Bangkok University and showed at the Bangkok University Gallery. What interests me is the excitement of intercultural interaction – how being put in situations like this challenges your thinking and being in a very different culture affects your understanding of yourself. After this two-month residency, it seemed essential to reciprocate so I got one of the Thai artists to come to the Slade to be artist-in-residence and the same group of artists had a show in London at the Bischoff Weiss Gallery. We are in fact having a third show this June at the Bangkok Arts and Cultural Centre (funded by the British Council and UCL) so a kind of interaction and network has developed.

Having artists-in-residence has showed me the importance nowadays of having a more global approach to the art narrative; art schools can’t be merely western-focused; they need to be more global. So I established a series of art residencies at the Slade. We have had artists from China, Palestine, Bangladesh, Hong Kong and Uganda. The artists come here, and they get studio space, participate in seminars, exhibitions and so on – I am really involved with this way of trying to globalise the curriculum. I was brought up to believe that art was focused in New York, London and Paris. Art was so western-centred. I remember being taught in art history that shadows were first painted in the Renaissance; that this was a discovery of the Renaissance. But when I went to the Forbidden City in Beijing, I saw those paintings with beautiful shadows on them. I looked at the dates – they were from 60 BC! More than a thousand years before the Renaissance. I think that our focus can be so limited. To me, there is little more exciting than to see something from another cultural perspective, to experience the stimulation of pushing your boundaries to their cultural limits. I find it encouraging that the Slade and UCL also considers this important.

ART.ZIP: 請您簡單地介紹一下您自己。

AS: 我是一位藝術家。幾乎所有斯萊德藝術學院的老師都有自己的藝術實踐。很多年前我也是在斯萊德藝術學院接受的教育,畢業後我獲得一筆不錯的獎學金讓我在羅馬遊學了兩年,回國後我就開始進行國內外的畫展,也開始了在切爾西藝術學院(Chelsea College of Art)12年的教學生涯,包括在本科和碩士課程授課,然後我來到了斯萊德藝術學院,在這裡工作了14年,主要以教授本科課程為主。

我的藝術實踐都與繪畫有關,比較關注70年代末後現代主義興起時質疑現代主義的那個特定的時期。在80年代早期我舉辦了很多畫展,而這些經驗讓我更有勇氣去嘗試大尺幅的作品和進行更多表達可能性的嘗試。斯萊德畢以後,我在羅馬的藝術家駐留經歷讓我體驗到了非常不一樣的經歷,所以我在得到包括英國文化委員會等機構的基金贊助後陸續到了很多其他國家進行藝術家駐留項目,當中包括中國、澳大利亞、斯里蘭卡等等。我還在泰國做了好些駐留項目,而這些項目又令我有機會開展一些新的項目。90年代初,在獲得溫蓋特獎學金(Wingate Scholarship)之後我還到了泰國週邊的國家,例如老撾、柬埔寨、緬甸和越南,在這過程中我創作了大量的作品,這些作品回到英國在安琪拉弗拉爾斯畫廊(Angela Flowers Gallery)進行展出。我十分重視這些跨文化交流給藝術家及其創作帶來的可能性。我發現亞洲充滿了活力和激情,特別是東亞地區。對我來說,藝術就像是一種國際語言,藝術家之間可以互相借鑑。這是一種交流與交換。2006年我和三、四位藝術家被邀請到曼谷與幾位泰國藝術家一起合作,我們都在曼谷大學提供的空間裡一起工作,一起在大學畫廊裡舉辦畫展。最吸引我的是這種跨文化交流所產生的碰撞,在自己國家和文化以外的地方挑戰自己、反思自己。在這兩個月的進駐項目後,作為報答,我邀請了其中一位泰國藝術家來到我們斯萊德藝術學院進行藝術家駐留項目,同時把當時一起參與這個進駐項目的藝術家聚在一起到比肖夫·維斯畫廊(Bischoff Weiss Gallery)舉辦群展。可喜的是,我們得到了英國文化委員會和倫敦大學學院的支持,今年六月,展覽會到曼谷藝術與文化中心(Bangkok Arts and Cultural Centre)展出。就是這樣的互動交流促成了我們關係網絡的建立。

這些藝術家駐場項目讓我意識到了全球化的視角對當代藝術發展的重要性。藝術學院不能只以西方研究為中心,我們需要更全球化的視野。所以我在斯萊德創立了一系列的藝術家駐場項目。我們有來自中國、巴勒斯坦、巴格達、香港、烏干達等地區的藝術家。他們在斯萊德能獲得工作室空間、參加研討會、展覽等等。我全力支持並贊同以這樣的方式來使我們的課程更具國際化視野。我從小就被灌輸藝術中心在紐約、倫敦和巴黎這樣以西方為中心的意識。我還記得當初藝術史課上說影子最早在文藝復興的年代被繪畫出來,那是文藝復興時期的一大發現。但是當我在北京參觀故宮的時候,我看見了畫上那些影子被完美了勾勒出來。我看看日期,比文藝復興早了不止一千年!從那時起我覺得我們關注的太有限了。對我來說,從不同的文化視角來看待事物和體驗文化差異是非常有意思的事情,這對我有限的文化認知有很大的衝擊。令我更受鼓舞的是斯萊德藝術學院和倫敦大學學院都非常支持我們的項目。


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