David Roberts ART Foundation
大衛·羅伯茨藝術基金會


Museums are houses full of thoughts’, according to Marcel Proust,DRAF can be such a house, rich in sensibilities, styles, and voices.

馬塞爾•普魯斯特(Marcel Proust)曾經說過“博物館是滿載思想的穀倉”,DRAF也致力於成為這樣的一個地方,充滿豐富的情感,風格和不同的聲音。

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Every time an artwork is acquired the whole collection’s dynamic changes. In fact, the whole reacts to the parts, as each time a new acquisition is made, the entire collection expands with new possibilities of existence. This is an intrinsic quality of a collection: in order for it to be alive, it needs to always be activated and reconsidered; it is always in t he stage of ‘ becoming’.

每一件新藝術品的購入都會導致整個收藏的動態變化。事實上,在每一次新的部份被接納的時候,從整體上整個收藏拓展了它作為一個集合而存在的新的可能性。整個收藏體系是一個內在的有機體:為了保持鮮活的生命力,它總是要求不斷的刺激并不斷地反思以保持自身永遠處於“正在形成”的階段。

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Study is not an attempt to capture or seize but a methodology of encounter and the insistence on the provisional as both form and content within the process of research. It is an exercise in responding to the infinite demands of the work, not meant to bring forth any historical truth but rather to enter into dialogue with the work.

研究或者學習並不是試圖捕捉或者獲取某種知識,而是一種通過研究過程中不斷出現的、在內容與形式兩方面發生持續碰撞的方法論。在面對無盡可能性的作品時,它就成了一項訓練,它不代表能帶來任何歷史的真相,而是一個与藝術品發生對話的實踐。

A: So there isn’t a set mode for doing projects?

V: I don’t want to have any hierarchy between a 5 seconds performance, or 5-6 months long exhibition, I think everything is important. Everything should have the same importance to us.

A:所以你們沒有一個固定的模式做項目策劃?

V:我不希望在一個五秒的表演和一個長達五六個月的展覽之間作出任何輕重的評估,我認為無論哪個都是同等重要的。所有的項目對我們都有著同樣的重要性。

 

A: Do you do anything to promote young artists, curators etc.?

V: Not necessarily young, because I don’t base my research on generations. For instance, we recently worked with Bruce McLean, a historical artist here in the UK, and we work also with emerging artists, as talent doesn’t have any age. It doesn’t make sense to me actually. Having said so, when you come to the openings, when you come to our performances you realize our audiences are relatively young, the visitors come to participate with us, they co-produce a culture.

A:你們會推廣年輕的藝術家或策展人嗎?

V:不一定是年輕人,我們的研究領域沒有輩份之分。比如,我們最近才與英國的史學藝術家布魯斯·麥考林(Bruce McLean)合作,同時我們也與一些新晉的藝術家合作,才華並沒有年齡的限制。我認為按輩份區分是不合理的。但當你參加首映、參與我們的活動時也會發現,前來參加的觀眾都是相對年輕的群體,他們參與到我們的項目之中並與我們共同參與文化生


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