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


A: Are all annual reports accessible to audience?

V: Yes, legally we have to make this available. The Arts Council has funded us for the Curators’ Series. In this case we have to justify a lot of things, which of course is totally right. Such as number of people coming to see the exhibition, how we promoted the exhibition, where the money went for etc. These aspects were strictly controlled. OUR AC TIVITIES ARE controlled, ES PECIALLY THE FINANCIAL PAR T.

A:你們的年度報告是否對大眾開放?

V:是的,在法律上我們必須這麼做。藝術委員會(Arts Council)資助了我們的策展人系列,在這種情況下,我們必須交代許多事情,這確實是合情合理的。例如,有多少人前來觀展,我們如何推廣展覽,資金費用的去向,這些方面都是受嚴格的控管。所以我們舉辦的活動會受到監管,尤其是財務這一方面。

A: Do you have any future projects working with Chinese artists or curators?

V: I am shameful: I don’t think I’ve ever worked with Chinese artists or curators. We have a few Chinese artists represented in the collection though, such as Zhang Huan and a few others. But I never directly worked with Chinese art. Why is that? First, I would need to research and to understand if something like Chinese contemporary art exists or not. Maybe there is Canton, Shanghai, Beijing contemporary arts and certain kind of scenes but Chinese as one entity, I would need to discuss that and to research that.

Also, does the concept of “contemporary art” applied to the art currently being produced in China make sense? Because this concept of contemporary art is very western. With Chinese contemporary art, I also think I don’t have the expertise, I would be very prudent with that. It takes me a long time to understand an artist, to work on a project and then work with the artist. Actually I worked with a Chinese artist before, I worked with Chen Zhen before.

I must say I was very surprised when I visited Shanghai. I had a meeting with someone, who is working for a very important Chinese collector. I understood they are commissioning a building, a major building to dream for, but I found they had no idea what to do with that.

It may not be only Chinese: contemporary art often has to be big, it has to be spectacular . I think art doesn’t work like that. Art is a delayed action in many ways. If you build a contemporary art collection which is based solely on the spectacular, you run the risk of this just being a noise to be forgotten three months after you open your museum. So a collector needs to understand that his action is not in the now , his action is in the future.

A:在未來項目裡,你們打算與中國藝術家或策展人合作嗎?

V:很遺憾的是我們還沒有與中國藝術家或策展人合作的機會。但是我們的藏品中有中國藝術家,如張洹和其他幾位藝術家。但我們沒有直接從事與中國藝術相關的項目。主要原因是,首先,我需要考察和了解中國當代藝術是否存在。或許在中國,有廣東、上海、北京的當代藝術,和類似的文化景象的存在,但是以中國作為一個整體來看待的當代藝術,我需要探討

和研究這一方面。

 

此外,當代藝術這一概念應用於目前中國創造的藝術是否合理呢?因為這是個十分西化的藝術理念。對於中國當代藝術,我還沒有具備足的專業知識,所以我必須對此謹慎對待。我需要花一段很長的時間去了解一位藝術家,去進行相關的項目研究,然後與這個藝術家合作。其實,我曾與一位中國藝術家陳箴合作。

 

我必須到上海的時候感到非常驚訝。當時我與一位人士開會,他為一個非常重要的中國收藏家工作。我發現他們希望資助建設一座夢寐以求的建築,但他們並不知道建以何用。

 

或許不僅僅只是中國人有這樣的問題:當代藝術必須是宏偉壯麗、驚為天人的。但我認為藝術不應該是這樣的。在許多方面上,藝術的影響是依靠時間的推延而彰顯的。如果單單出於表面雄偉壯觀這一目的,那創建一系列的當代藝術創作便要承擔風險,或許你所開設的博物館只是一時的響噪,三個月後便會被人們遺忘。所以收藏家必須明白他的一切行動不應該著眼於現在,而是展望未來。

A: Which artist from France would you recommend?

V: There are many actually , I can name a trilogy : Daniel Buren, he is extraordinarily important. The second one is Pierre Huyghe, from a different generation, he was born in 1962,. He will have a solo exhibition this year at the Pompidou Centre. The next one I would say Benoit Maire. Benoit Maire was born in 1978, and he’s using philosophical concepts and turning them into forms. Benoit works with films, prints, sculptures, and he does installation. We will have his solo exhibition here in March. Other artists I could name: Cyprien Gaillard just opened, two days ago, a solo exhibition at the MoMA .

Cyprien works with video and installation, very much related to the possibility of disaster and the idea of romanticism as well. Neil Beloufa is another artist. He works a lot with images on how they can be circulated and can be transmitted, and transformed and digested and re-transformed, transcribed.

A:你能給我們推薦幾位不錯的法國藝術家嗎?

V:實際上法國有許多很好的藝術家,在這裡我介紹三個吧:丹尼爾·布倫( Daniel Buren ),他是格外重要的一位藝術家。其次是成長在不同年代的皮埃爾·回約(Pierre Huyghe),出生於1962年,今年他將會在蓬皮杜藝術中心舉辦個展。另外一個是博奴瓦·邁爾( Benoit Maire ),出生於1978年,他會運用哲學的理念將其轉化為各種形態。博奴瓦的創作領域涉及電影,版畫和雕塑,同時他也做裝置藝術。我們從三月份開始就會有他的個展。還有其他很好藝術家,包括希普利安·蓋拉德(Cyprien Gaillard),剛在兩天前於紐約現代藝術博物館(MoMA )開辦他的個展。希普利安以短片和裝置的形式做創作,以災難的可能性和浪漫主義為相關主題。還有另外一位藝術家尼爾·梅洛法(Neil Beloufa),他著手於大量的圖片創作,研究如何將其傳閱,傳送,轉化,消化和重新改造,再轉錄。


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