外在的荒蠻頹敗與內在的繁盛向榮——Daniel Arsham《時間之沙》
繼丹尼爾・阿爾沙姆（Daniel Arsham）的雕塑《侵蝕斷臂維納斯銅像》（2020）作為公共藝術作品在中國阿那亞海邊廣場揭幕並展出一年之後，2021年7月11日至2021年10月10日，UCCA沙丘美術館呈現丹尼爾・阿爾沙姆個展《時間之沙》，展出藝術家最新創作的一系列雕塑作品。作為UCCA沙丘美術館舉辦的首個藝術家個展，《時間之沙》以UCCA沙丘美術館在地自然環境為背景，呈現阿爾沙姆基於「虛構考古」，及其對歷史和遺跡的興趣創作的最新雕塑和相關素描作品。
A year after Daniel Arsham‘s (b. 1980, Cleveland, USA, lives and works in New York) sculpture Bronze Eroded Venus de Milo (2020) was unveiled as a public artwork at Aranya, the artist returns with a new body of work for the first solo exhibition held at UCCA Dune. Against the backdrop of the natural, geological features of UCCA Dune, Daniel Arsham: Sands of Time stages recent sculptures and related drawings that expand upon his fascination with history, relics of the past, and idea of a “fictional archeology”. The exhibition runs from July 11, 2021 to October 10, 2021.
阿爾沙姆的雕塑創作圍繞「虛構考古」的概念展開。「虛構考古」意指通過對歷史遺跡和具有當下時代特徵物品的超現實呈現，為觀眾虛構出跨越時空的考古現場，激發觀眾以未來視角審視眼前的「遺跡」。在創作過程中，阿爾沙姆獲得法國國家博物館聯盟史無前例的支持，得以接觸到如巴黎羅浮宮、梵蒂岡博物館等歐洲最重要博物館館藏的雕塑大師原作的模型，並採用其標誌性創作材質，如侵蝕水晶和青銅，以徬如幾個世紀，甚至幾千年後出土的狀態對古希臘和羅馬的雕塑進行了重構想象。當佛羅倫斯政治家和藝術贊助人羅倫佐・梅地奇（Lorenzo di Piero de’ Medici）、羅馬神話中的戰神阿瑞斯（Ares Borghese）和狩獵女神黛安娜（Diane）、以及希臘神話中屹立於觀景殿的太陽神阿波羅（Apollo）等眾多古老雕塑，以腐蝕朽敗之相展露歲月流逝的同時，侵蝕雕塑內的水晶卻以生成增長之態透露出截然相反的時間發展線索。這些作品的選擇體現了阿爾沙姆對UCCA沙丘美術館隱於沙丘之下的獨特在地環境，以及在美術館空間內，營造自然景觀與時間流逝交融的文明遺跡可能性的考量。
Central to Arsham‘s sculptural practice, fictional archeology takes objects from the past and significant to our present and present them as if we are viewing them from the future. With unprecedented access to molds at Réunion des Musées Nationaux in France that were made for classical Greek and Roman sculptural masterpieces found in the collections such as the Louvre and the Vatican Museums, Arsham casted works in his own trademark style and materials such as eroded crystal and bronze, reimagining these historical sculptures as if they have been excavated centuries, and even thousands of years, into the future. While these ancient subjects—among them are the Florentine statesman and art patron Lorenzo de Medici, the Roman god of war Ares Borghese, the Greek god Apollo Belvedere, and the Roman goddess of wild animals and the hunt Diane (or Diana) —are depicted in a state of decay, the nature of crystal introduces the opposing idea of formation and growth. The selection of work on display reflects the artist’s impression of the museum‘s unique subterranean setting and the creative possibilities within the museum space to consider ideas of the remnants of civilization as mixed with their surrounding natural landscape and the effects of time itself.
當沙子的顏色隨展覽空間的轉移從白漸變為藍，通過展覽名稱《時間之沙》令人聯想到沙子流過沙漏的視覺意象，以及圍繞在雕塑四周的真實流沙，阿爾沙姆具象化了人們對時間流逝的內在感知。而在位於海灘的室外展廳中，置於沙內的巨大古希臘女神頭像看上去徬如女神將整個身子埋於沙子之下，進而激發觀眾對完整雕塑的想象。這件《出土的侵蝕悲劇女神墨爾波墨涅銅像》（2021）也是迄今為止，阿爾軒所創作的體量最大的青銅雕塑作品。其他或被侵蝕，或不完整的古老雕塑也將激發觀眾類似的聯想。此外，一年前在阿那亞展出的公共藝術作品《侵蝕斷臂維納斯銅像》（2020）也將於UCCA沙丘美術館的入口處展出。
Sands of Time refers to our inherent association with the passing of time as represented by the image of sand falling through an hourglass, as well as to the sand that surrounds the sculptures in the exhibition, which forms a color gradient from white to blue that runs alongside the sculptures. Partially collapsed into the sand in the gallery space sand in the gallery space outside on the beach, Unearthed Bronze Eroded Melpomene (2021) is Arsham‘s largest bronze work to date. The massive sculpture of a bust of the ancient Greek goddess hints at a complete form that could be continuing and resting beneath the surface of the sand. Other eroded, or otherwise incomplete, figures inspire similar imagination. The public artwork Bronze Eroded Venus de Milo (2020) will join the rest of the works at the museum as part of the exhibition.
阿爾沙姆藉由對古物和觀看者所處時空的超現實錯置，為觀眾營造了一個跨越時空的未來考古現場，在激發觀眾對傳統歷史遺跡的發掘、修繕和保護進行思考的同時，亦對以觀眾的感悟詮釋古雕塑現代意義的可能性展開了探討。在這座消隱於沙丘之下的美術館中，虛構的歷史遺跡、展廳臨海沙丘的自然環境，以及觀眾對這些遺跡背後故事的想象，三者共同構成了一場視覺上的對話，而盛與衰持續不斷的對抗則變成了一個超現實且迷人的悖論。
Through the surreal displacement of ancient objects and the new location the viewer finds them in, the artist asks the viewer to consider the art historical tradition of unearthing, revising, and conserving works of the past, while probing at the idea that the modern meaning of antique sculptures can be through the viewer‘s interpretation of them. Framing a visual dialogue between these fictional relics, the environment they have been recast in, and our imagination that completes the story behind them, the sustained tension between decay and completion becomes a surreal, captivating paradox by the coast under the dune.
關於藝術家 About The Artist
丹尼爾・阿爾沙姆（Daniel Arsham），1980 年生於美國克里夫蘭，現工作和生活於紐約。阿爾沙姆的美學根植於他的「虛構考古」概念。通過雕塑、素描、建築和影像等創作媒介，以其稱為「未來考古學」作品創造一種臨界情境。這些令人難忘又饒有趣味的場景，兼有浪漫主義和普普藝術的氣質。阿爾沙姆的作品曾在全美各重要機構，如MoMA PS1、紐約新美術館、邁阿密當代藝術博物館等地展出。2021 年，阿爾軒被任命為克里夫蘭騎士隊的創意總監，成為有史以來第一位擔任此職位的藝術家。
Daniel Arsham (b. 1980, Cleveland) lives and works in New York. Arsham‘s aesthetic is rooted in his concept of fictional archaeology. Working with sculpture, drawing, architecture, and film, he creates liminal situations by staging what he refers to as 「future archaeology.」 These works imagine a future world from which we may re-examine our present. These haunting yet playful visions straddle romanticism and pop art. The artist’s work has been shown in many prestigious institutions, including MoMA PS1, the New Museum in New York, and the Museum of Contemporary Art in Miami, among others. In 2021, Arsham was appointed to the role of creative director of the Cleveland Cavaliers, becoming the first-ever fine artist to hold a position of this nature.
Source: UCCU Dune
