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書名：如何讀懂當代藝術(shù) How to read contemporary art 作者：Michael Wilson
_____________________ 當代藝術(shù)最基本的含義，是我們所處時代的藝術(shù),。更具體的說法是,，將其與現(xiàn)代藝術(shù)相區(qū)別，根據(jù)“后現(xiàn)代”最早出現(xiàn)的時間,，當代藝術(shù)的時間范圍可以推定至20世紀70年代,。 The most basic meaning of contemporary art is the art of our time.More specifically, to distinguish it from modern art, according to the earliest 'post-modern' time, the time range of contemporary art can be presumed to 1970s.
當代藝術(shù)有時候被稱為“后流派”藝術(shù)，意味著不再有過去的藝術(shù)風格分類,，給每個藝術(shù)家個體提供自由和空間，換句話說,，藝術(shù)家們不得不自主掌舵,。 Contemporary art is sometimes referred to as 'post-genre' art, meaning that there is no longer a classification of past artistic styles, providing freedom and space for each individual artist, in other words, artists have to take the helm on their own.
藝術(shù)家作為孤獨天才的神話早已破滅，他們并非與世隔絕,，而他們的創(chuàng)作也遠非脫離研究,、對話與合作的活動。相反,，一位從事當代藝術(shù)的藝術(shù)家,，幾乎不可避免地生存在一張大網(wǎng)之中，這張網(wǎng)包含了策展人,、評論家,、學者、藝術(shù)商,、收藏家,、愛好者，當然還有其他藝術(shù)家,。 The myth of artists as lonely geniuses has long been shattered, they are not isolated from the world, and their creation is far from the activities of research, dialogue and cooperation. On the contrary, an artist engaged in contemporary art, almost inevitably exists in a large network of curators, critics, scholars, artists, collectors, enthusiasts. There are, of course, other artists.
本書的藝術(shù)家不只是當下最知名的藝術(shù)家,，而且有很多得到了其他藝術(shù)家認可的、在自身的名人效應外仍然具有強大影響力的藝術(shù)家,，還有一些電影,、音樂和漫畫等大眾領域的杰出藝術(shù)家。
The artists of this book are not only the most famous artists of the day, but also many artists who are recognized by other artists and still have a strong influence beyond their celebrity effects. There are also some outstanding artists in the mass arts, such as movies, music and comics. _____________________
根據(jù)個人興趣 我挑選了一些比較喜歡的藝術(shù)家以及作品：
I selected some of my favorite artists and works according to my personal interests:
（根據(jù)姓名 由A-Z排序）
A
阿德爾·阿貝德塞梅 Adel Abdessemed
Telle mère tel fils（有其母必有其子）
“我不是生活在兩種文化之間的人,，我不是后殖民主義藝術(shù)家,。我不從事傷痕藝術(shù)也不為療傷。我只是一個探查者，在公共領域,，我利用公眾的激情和憤怒,，別無其他。我不制造幻覺,?！?nbsp; 他運用雕塑、裝置,、攝影和錄像等多種媒介,，其中有些規(guī)模十分宏大，來制造公眾情景（他稱之為“行動”）,，并通過錄像和物件記錄下來,。他的早期作品非常直接地挑戰(zhàn)了宗教和政治的禁忌內(nèi)容，而籠罩每天日常生活的暴力是他的一貫主題,。 'I am not living between two cultures, I am not a post-colonial artist. I don't do scar art, I don't heal wounds. I am just an explorer, in the public domain, I use public passion and anger, nothing else. I don't create hallucinations. '
He uses a variety of media, including sculptures, installations, photography and video, some of which are of a very large scale, to create public scenes (what he calls 'action') and record them with videos and objects. His early works directly challenged religious and political taboos, and the violence that enveloped his daily life was his constant theme.
安德里亞·鮑爾斯 Andrea Bowers
“在影像,、裝置和繪畫作品中，鮑爾斯探索了控制與權(quán)力的問題,?！?/strong> 'in images, installations and paintings, Bowles explores the question of control and power. '
美國藝術(shù)家Andrea Bowers的作品常常與社會政治有千絲萬縷的關聯(lián)。她的作品關注一些地區(qū)及公司為了得到或者保持權(quán)力與利益而引起的環(huán)境污染與侵犯人權(quán)的事件,。 The works of American artist Andrea Bowers are often closely related to social politics. Her work focuses on environmental pollution and human rights violations in some regions and companies in order to obtain or maintain power and interests.
B
貝森·休伍絲 Bethan Huws
貝森·休伍絲的母語是威爾士語,，第二語言是英語。她現(xiàn)在生活在巴黎和柏林,。由于這樣一個生活背景,，她的繪畫、裝置,、雕塑,、文章和電影在初期總是圍繞著地域、空間,、出身和個人身份認證這些主題,。對藝術(shù)家本人來說，語言是社會組織和社會交流中的載體和具體事件發(fā)生的地方,，具有最重大的意義,。休伍絲女士在她對現(xiàn)代藝術(shù)本身及其周邊條件的思考過程中，認定杜尚 (1887-1968)這一極端現(xiàn)代藝術(shù)的創(chuàng)始人之一,，是理解現(xiàn)代藝術(shù)的重要本源,。她對杜尚做出很多驚人的新解釋，并創(chuàng)造了很多自己的,，具有時代感的表述,。 Bethan Huws is native to Welsh language and English is second language. She lives in Paris and Berlin now. Because of such a living background her paintings installations sculptures articles and movies always revolve around regions spaces origin and personal identity at the beginning. For artists themselves language is the carrier of social organizations and social exchanges and specific events occur where it has the most significant significance. Ms. Xiu Wusi decided in her thinking about modern art itself and its surroundings and identified Marcel Duchamp as one of the founders of extreme modern art. It is an important source of understanding modern art. She made many amazing new explanations to Marcel Duchamp and created many own expressions with contemporary sense.
個展“今天天氣很好”（Il fait beau aujourd’hui）
C
香特爾·阿克曼
Chantal Akerman
1950年出生于比利時布魯塞爾,，工作生活于法國巴黎和美國波士頓。阿克曼在20世紀60年代后期開始拍攝電影,，1995年開始創(chuàng)作影像裝置藝術(shù),。
Born in Brussels, Belgium, in 1950, he lives and works in Paris, France, and Boston, USA. Ackerman began filming in late 1960s and began to create the art of video installation in 1995.
“阿克曼直接表現(xiàn)了新浪潮的影像，并且處理的超級睿智,?！?/span> 'Ackerman directly represented the image of the new wave and handled it with super sagacity. '
《讓娜·迪爾曼》 迪爾曼的多重身份：母親、家庭主婦,、妓女在電影中被推至中心位置,，這也就是“女權(quán)主義”電影的最大特點。女性主義者安奈特·孔指出,，在電影中,，女性通常被社會結(jié)構(gòu)成男性主導世界的“他者”或“局外人”，女人無法說自己的故事,，因為影像是被男性控制,，通常女性被視為性客體，惟其美貌和性吸引力才有價值,。阿克曼的這部電影可以看作是對傳統(tǒng)男性電影霸權(quán)的一次挑戰(zhàn),。
Dillman's multiple identities: mothers, housewives, and prostitutes are pushed to the center of the film, which is the biggest feature of the Feminist film. Feminist Annette Kong points out that in movies, women are often socially structured as the 'other' or 'outsider' of the male-dominated world, and women cannot tell their stories because the images are controlled by men. Women are often regarded as sexual objects, but their beauty and sexual attractiveness are of value.Ackerman's film can be seen as a challenge to the hegemony of traditional male films.
https://www.bilibili.com/video/av3031063/
科妮莉亞·帕克
Cornelia Parker
Parker偏好“卡通暴力”，猛撞或猛扯物件,，將其吹大或是從高空拋下。
Parker prefers 'cartoon violence,' bumping or pulling objects, blowing them up or dropping them from the sky.
藝術(shù)品中再循環(huán)利用的現(xiàn)成物通常傳達了一種時間感,，一定程度上物件過去的歷史和身份仍明顯存在,。在其涉獵廣泛的系列作品中，科妮莉亞·帕克以創(chuàng)新的,，常令人瞪目結(jié)舌的方式來對現(xiàn)成材料加以利用,，這些方式讓偶得材料與過去和現(xiàn)在的關聯(lián)更為錯綜復雜，并提醒我們認識到所有事物隨著時間的推移都會經(jīng)歷其意義和形式上的無情變化,。 Recycled ready-made objects in art usually convey a sense of time, and to some extent the past history and identity of objects still exist. In her extensive series, Cornelia Parker uses ready-made materials in innovative, often glaring ways. These methods add complexity to the connection between the material and the past and present, and remind us to recognize that all things experience relentless changes in meaning and form over time.
帕克藝術(shù)的與眾不同之處在于她如何揭示了時間的路徑絕非直線前進的,。歷史、記憶,、情感和新事件會賦予人,、地點和物件以新的意義。 What distinguishes Parker's art is how she reveals that the path of time is not straight forward. History, memory, emotion, and new events give new meaning to people, places, and objects.
《一座歷史遺跡的潛意識》的名字反映了藝術(shù)家對弗洛伊德學派心理分析的興趣,，又一次在平凡中注入了類似于自主意識的內(nèi)涵,。 The name 'Subconscious of a Monument' reflects the artist's interest in Freudian psychoanalysis, and once again infuses an intension similar to autonomous consciousness in the ordinary.
D
道格拉斯·戈登
Douglas Gordon
道格拉斯會使用不同的媒介進行創(chuàng)作。他使用過表演,、油畫,、裝置、文本以及電影膠片（包括原版的和從別處借用來再創(chuàng)作的）來研究人類的感知、記憶以及遺忘,。 Douglas uses different media to create. He has used performances, paintings, installations, texts, and film films (both original and borrowed from other sources) to study human perception, memory, and forgetting.
《假死,；實時》 “我們想橫跨自然片和醫(yī)學紀錄片的形式，來觀察所拍攝對象,，既可以服務于實際用途,，又有一定的美感?！?將不同的電影題材匯聚在一種復合體中,，是藝術(shù)家很多作品的核心所在。 'We want to look across the forms of natural films and medical documentaries to see the subjects, both to serve practical purposes and to have a certain sense of beauty. 'bringing different film themes together in a single complex is at the heart of many of the artists' works.
play dead,；real time,，2003 戈登解構(gòu)了他運用的媒介，一方面更密切地研究了獨特的對象,，另一方面建立并增強了內(nèi)容與背景之間的交換,。
Gordon deconstructs the media he uses to study unique objects more closely on the one hand and to establish and enhance the exchange between content and background on the other.
用“通感”（Synesthesia）可以更好地來描述“基于時間的媒體藝術(shù)”（time-based media art）的屬性，因為它們永遠調(diào)動你的多重感官,。 Synaesthesia can be used to better describe the properties of 'time-based media art'. Because they always mobilize your multiple senses.
達米恩·赫斯特
Damien Hirst
Hirst一貫的主題——生與死,、美麗與恐怖是常見的，他采用了直接而帶有煽動性的手法,，并且越來越帶有宗教意味,。
Hirst's consistent themes of life and death, beauty and terror are common, and he has adopted a direct and inflammatory approach and is increasingly religious. 他在商業(yè)上獲得的成功是難以忽視的。他的事業(yè)走勢反映并在某種程度上促進了國際當代藝術(shù)市場在過去十五年中的繁榮,。
His success in business is hard to ignore. His career trends reflect and to some extent contribute to the prosperity of the international contemporary art market over the past 15 years.
The Physical Impossibility of Death in the Mind of Someone Living,，1991
這是Hirst的第一件福爾馬林尸體作品。
個人網(wǎng)站：http:///
E
埃亞-麗莎·阿提拉
Eija-Liisa Ahtila
The House
“動態(tài)的圖像作為媒介,，讓人們看到周圍發(fā)生的事情,，是他們了解社會的途徑。這是一種最常見的解釋我們社會的方式,。藝術(shù)家想用動態(tài)圖像創(chuàng)作是不足為奇的,。” 'dynamic images act as a medium for people to see what is happening around them, and it is their way to understand society. This is one of the most common ways to explain our society. It is not surprising that artists want to create with dynamic images. '
她的作品通常是多影像多聲道模式,，并且放置在可穿行的裝置作品中,，于是將電影語言納入了藝術(shù)的拓展領域。另外,，她通過混合敘事電影,、音樂錄像和電視廣告，反映當代各種媒介之間界限的消融,。
Her works are usually multi-image, multi-channel, and placed in transportable installations, thus incorporating the film language into the field of artistic expansion. In addition, she reflects the melting of the boundaries between contemporary media through a mix of narrative films, music videos and television commercials.
F
菲亞·貝克斯托姆 Fia Backstr?m
通過裁去《藝術(shù)論壇》的評論主體,，藝術(shù)家強調(diào)了與內(nèi)容平行的另一線路,，以此表達觀點。
By cutting off the subject of the Art Forum, the artist emphasizes another line parallel to the content to express his views.
G
加布里埃爾·庫里
Gabriel Kuri
庫里總體上關注的是廢棄物品如何被賦予精神和政治意義,。
Kuri is generally concerned about how discarded items are endowed with spiritual and political significance.
Gabriel Kuri, 'Untitled (superama),' 2003 加布里埃爾·庫里（Gabriel Kuri）以其利用日常消費品的殘留部分——如入場券,、煙、身體護理產(chǎn)品,、大理石板材以及石塊等——創(chuàng)作的雕塑及拼貼作品而聞名,。他的作品涉及到了裝置、雕塑,、攝影以及拼貼品等多種媒介,。他通過這些作品探索了關于當前的社會秩序的問題。 Gabriel Kuri uses the remaining parts of everyday consumer goods -- such as tickets, cigarettes, physical care products, Marble plates and stones -- sculptures and collage works are famous for their creation.His works involve many kinds of media such as devices sculpture photography and collage products. Through these works he explores questions about the current social order.
Gabriel Kuri, 崇高之再現(xiàn)（Recurrence of the sublime）, 2003
H
哈倫·法羅基
Harun Farocki
像“新德國電影”導演Rainer Werner Fassbinder和Werner Herzog等人一樣,，F(xiàn)arocki在20世紀60年代后期的學生抗議運動背景下展開了創(chuàng)作,，他創(chuàng)作的作品多達90多部。他廣泛運用各種體彩及形式,，從記錄短片到長篇電影,，從數(shù)碼動畫到多屏幕裝置，創(chuàng)造了“自省的電影立體主義,，而媒體本身作為真相的工具,，受到激烈的質(zhì)疑?！?/span>
Like Rainer Werner Fassbinder and Werner Herzog. Farocki created more than 90 works in the context of the student protest movement in late 1960s. He used a wide variety of sports lottery tickets and forms, from documenting short films to long films, from digital animation to multi-screen devices, creating 'introspective film cubism, and the media itself as a tool for truth.' Under fierce questioning. '
“通過剪輯和旁白,，法羅基將兩種視覺追蹤聯(lián)系起來?！?/strong>
'through editing and narration, Farocki connects the two visual trackers. '
I
艾薩·根澤肯 Isa Genzken
“藝術(shù)當中最壞的情況就是,，‘你看見并且你懂了’。許多藝術(shù)家似乎都根據(jù)自己發(fā)明的一種理論來創(chuàng)作,，這種理論陪伴他們的一生，他們從未偏離其外,。我很不喜歡這種確定性,。” 'the worst thing about art is' you see and you understand'. Many artists seem to create on the basis of a theory they have invented that accompanies them throughout their lives and that they have never deviated from. I hate this certainty. '
Genzken對材料的使用當然不是不加選擇的,，而是展示了另一種世界,，在其中并不直接“屬于彼此”的物件、圖像,、思想和感覺之間被強制建立起一種在精神和實體上無比接近的永久關系,。當布赫洛將藝術(shù)家當下的手法形容為徘徊在“精神變態(tài)邊緣”時，他并不認為Genzken真的瘋了,，而是投入了一種持續(xù)的對抗,，在一個著迷于物質(zhì)的單純消費功能的世界里,，反對那種重新審視它們真實價值的不可能性。這種模式反映了一種涉及現(xiàn)代及當代建筑以及物質(zhì)文化整體的興趣,，同時體現(xiàn)在Genzken的電影,、攝像、錄像,、繪畫和拼貼作品中,。通過所有這些媒介，她引用了構(gòu)成主義的傳統(tǒng)和藝術(shù)與設計中的其他烏托邦主題,，來創(chuàng)造一種“當代廢墟”,。這些倒塌的景象令人不適的同時也有解放的力量，傳達出一種深深的憂郁,，同時貫穿著一種驚人的樂觀,。
Genzken's use of materials, of course, is not random, but shows a different world. A permanent relationship between objects, images, thoughts, and feelings that are not directly 'belonging to each other' is forced to be incomparably close in spirit and substance. When Buhlo described the artist's current approach as hovering on the edge of a 'psychopath,' he did not think Genzken was really crazy, but instead engaged in a sustained confrontation. In a world obsessed with the purely consumptive function of matter, it rejects the impossibility of re-examining their true value. This model reflects an interest in modern and contemporary architecture as well as material and cultural as a whole, and is reflected in Genzken's films, cameras, videos, paintings and collages. Through all these media, she cites the tradition of constitutionalism and other Utopian themes in art and design to create a 'contemporary ruins'. The images of these collapses are both uncomfortable and liberating, conveying a deep melancholy that permeates a startling sense of optimism.
J
杰克·皮爾森
Jack Pierson
“這些現(xiàn)成品字母七零八落的布局意味著它們組合的偶然性?！?/strong> 'the patchy layout of these existing letters means the chance of their combination. '
杰克·皮爾森(Jack Pierson)說：“感傷,、浪漫、詩意,、美麗等詞語也許并不是描繪藝術(shù)品的最佳語匯,，但是，它們是我所偏愛的,?！?/span> Jack Pierson said, 'sentimentality, romance, poetry, beauty may not be the best words to describe art, but they are my favorite.' '
Self Portrait #4，2003
Self Portrait #17 皮爾森將他拍攝別人的照片命名為《自拍像》的這一做法,，應該視作是對達達主義宣揚的挑釁態(tài)度的認可,。1942年，馬塞爾· 杜尚（Marcel Duchamp） 和安德烈· 布雷頓（André Breton）在紐約策劃了群展“超現(xiàn)實主義的最初文本”（The First Papers of Surrealism）,，展覽圖錄將自拍（畫）像作為攝影和繪畫中,，描繪完全無關或不相識的人物其象征意義上的等價物。這些現(xiàn)成品肖像或者尋找得來的面孔都被冠以參展藝術(shù)家的名字,，并通過取代其他預期的身份而獲得新的意義,。 Pierson's designation of taking pictures of others as 'selfie' should be seen as a recognition of the provocative attitude promoted by Dadaism.1942. Marcel Duchamp-Marcel Duchampand Andr é Breton, Marcel Duchamp. in New York, organized the group show 'the original text of Surrealism' (. The First Papers of Surrealism. The exhibition catalogue uses selfie as a symbolic equivalent in photography and painting, depicting characters that are completely unrelated or unknown. These finished portraits or the faces sought were given the names of exhibitors and gained new meaning by replacing other intended identities.
K
凱倫·塞特
Keren Cytter
Keren Cytter（1977年出生于以色列特拉維夫）目前生活并工作在紐約。 Keren Cytter (born 1977 in Tel Aviv, Israel) currently lives and works in New York.
“塞特從不會使人忘記所觀看的是一系列規(guī)則的產(chǎn)物,?！?/span> 'Seth never makes people forget that what they see is the product of a series of rules. '
http://www./html/news/9/9096.html
她是一個不折不扣的電影愛好者，同時受到好萊塢主流電影和歐洲先鋒派的影響,，還熱衷于現(xiàn)代主義戲劇,。塞特將文本深埋于后現(xiàn)代主義破碎的敘事當中，通過那些組合后仍看起來互不相容的元素,，如虛構(gòu)與自傳,、奇幻與現(xiàn)實,、心理肖像與形式實驗，她鼓勵我們更仔細地觀察生活,，看它是如何被越來越多的藝術(shù)的人為形式所籠罩,。 She is a true film lover, influenced by the mainstream Hollywood movies and the European avant-garde, but also keen on modernist drama. Cytter buried the text deeply in the broken narration of postmodernism, through the combination of elements that still seem incompatible, such as fiction and autobiography, fantasy and reality, psychological portraits and formal experiments. She encourages us to take a closer look at life to see how it is overshadowed by more and more artificial forms of art.
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馬修·巴尼
Matthew Barney
巴尼的藝術(shù)創(chuàng)作可以說是極端個人化和內(nèi)傾型的。與大部分藝術(shù)家的創(chuàng)作都跟人類所置身的外部世界,，如政治,、社會、種族,、階級斗爭等等發(fā)生關聯(lián)不同,，巴尼的創(chuàng)作很少跟外界發(fā)生關系，他的文化定位與人類經(jīng)典神話,、醫(yī)學,、身體經(jīng)驗等密切相關。 Barney's artistic creation can be said to be extremely personal and introverted. Unlike the fact that most artists are related to the outside world, such as politics, society, race, class struggle, etc., Barney's creations rarely relate to the outside world. His cultural orientation is closely related to human classical mythology, medicine, physical experience and so on.
Cremaster懸絲 1-5
Astrup Fearnley Museet展覽現(xiàn)場
畢竟他的作品是本書的封面（出自于《懸絲3》） 不得不一提 After all, his work is the cover of this book (from 'Cremaster 3') and has to be mentioned.
“在任何領域或媒介里都很少有藝術(shù)家像他這樣構(gòu)想出如此細致而奇幻的宇宙,?！?/span> 'there are few artists in any field or in the media who, like him, have conceived such a delicate and magical universe. '
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奧拉維爾·埃利亞松
Olafur Eliasson
個人網(wǎng)站：www.olafureliasson.net
奧拉維爾·埃利亞松,1967年生于丹麥哥本哈根，現(xiàn)在德國柏林居住,。這位有著冰島血統(tǒng)的藝術(shù)家,總是將日光,、彩虹、水流,、迷霧等自然元素成為他作品的重要表現(xiàn).他的作品通過對自然現(xiàn)象進行再創(chuàng)造或直接干涉,，制造異于尋常的幻境,讓觀者身臨其境的去觸發(fā)那些光怪陸離的虛擬世界,從而引發(fā)人們對于自然現(xiàn)象的體驗與感悟。從上世紀九十年代至今的十幾年里,，埃利亞松創(chuàng)作出了大量科技含量很高同時又兼具自然和文化雙重性的經(jīng)典作品,。我們從中可以發(fā)現(xiàn)裝置、雕塑,、新媒體,、建筑、工業(yè)設計,、大地藝術(shù),、奧普（OPArt）藝術(shù)、超現(xiàn)實主義等各種門類形式的影子,，但又沒有一種是確切的,。有人這么評論他:“光”和“氣象”這幾個字就完全可以讓你感受到埃利亞松作品的獨特氣息,。 Olafur Eliasson, born 1967 in Copenhagen, Denmark, now lives in Berlin, Germany. An artist of Icelandic descent, the natural elements of daylight, rainbow, water flow, fog and so on have always been an important manifestation of his work, which has been recreated or directly interfered with natural phenomena. Create an unusual fantasy, let the viewer personally trigger those strange virtual world, thus causing people to experience and understand the natural phenomenon.From -10s to now, Eliasson has created a large number of classic works with high science and technology content and dual nature and culture. We can find the shadow of installation, sculpture, new media, architecture, industrial design, earth art, Oprah Art art, surrealism and so on, but none of them is accurate. Someone commented on him: 'Light' and 'weather' these words can make you feel the unique flavor of Eliasson's work.
《天氣項目》：
我參與過非常喜歡的一個展覽之一就來自他——《無相萬象》 現(xiàn)場體驗效果非常好
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皮皮洛蒂·瑞斯特
Pipilotti Rist
Pipilotti從上世紀80年代至今的藝術(shù)實踐包括單頻道影像作品,、雕塑、攝影,、墻畫以及視頻裝置等,。Pipilotti的藝術(shù)實踐在創(chuàng)作技藝上來說十分熟練,，它們總是能表現(xiàn)出各種刺眼的色彩；她將感官畫面,、音樂以及文字融合到一起,，創(chuàng)作出一些令人著迷的裝置作品。 Pipilotti's art practices since -20s include single-channel video works, sculptures, photography, wall paintings and video installations.Pipilotti's artistic practice is very skilled in creative skills, they can always show a variety of dazzling colors; She combines sensory images, music, and text to create some fascinating installations.
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理查德·奧爾德里奇 Richard Aldrich
Richard Aldrich Homage to Daan van Golden,， 2011
Richard結(jié)構(gòu)松散的多媒介繪畫的成功是難以量化的,，它們看起來往往瀕臨倒塌或是處于半成品狀態(tài)，有時甚至根本尚未開始,。充滿了內(nèi)部矛盾以及不協(xié)調(diào),。
The success of Richard's loosely structured multimedium paintings is hard to quantify, and they often seem to be on the verge of collapse or in a semi-finished state, sometimes even before they even start. Full of internal contradictions and inconsistencies.
“一位漫游者發(fā)現(xiàn)了一堆陶瓷碎片，他用膠水粘合起來,，做成了一只高雅的碟子,。而碎片的舊主人在丟棄他們之前，用碎片組成的是一只茶杯,，再之前的主人組合的則是一件阿多尼斯小塑像,。這就是歷史的本質(zhì)：很多塊碎片總是不斷的被發(fā)現(xiàn)，不斷被重組,?！?/strong>
'A rover found a pile of ceramic fragments, glued together with glue to make an elegant dish. Before throwing them away, the old owners of the fragments were made up of a teacup, and the previous owners combined a small statue of Adonis. This is the essence of history: many pieces of debris are constantly found and reorganized. '
萊涅克·迪克斯特拉
Rineke Dijkstra
《科沃布熱格，波蘭》（Kolobrzeg,，Poland）
The Gymschool, St. Petersburg, 2014
“迪克斯特拉運用既同情又無情感牽連的手法,，突出個人靈活的特質(zhì)?！?/span> 'Dijkstra used both sympathy and no emotional implication to highlight the flexibility of the individual. '
http://www./artists/rineke-dijkstra/
羅尼·霍恩
Roni Horn
Horn自1975年后便定期拜訪冰島,，她形容自己是這極具元素感之地的“永久游客”。 Horn visited Iceland regularly since 1975 describing herself as a 'permanent visitor' to this extremely elemental place.
水的圖書館 Vatnasafn/Library of Water,2007
Roni Horn是美國當代藝術(shù)家的實踐,，包括無數(shù)的人和媒體,，包括基于文本的雕塑，橡膠地板的安裝,，和攝影展覽,。Horn的作品探索了特定的主題，如艾米莉·狄金森的詩,，和她自己的魅力,，隨著冰島景觀地質(zhì)心理連接較為模糊的問題。藝術(shù)家說：“你用隱喻使自己在世界上感到自己的家園,?！?/strong> Roni Horn is a practice for contemporary American artists including countless people and media including text sculpture rubber flooring installation and photographic exhibitions. Horn's works explore specific themes such as Emily Dickinson's poems and her own charm as Iceland landscape geological psychological links are vague issues.Artists say: 'you use metaphor to make yourself feel your home in the world.'
Roni Horn的作品具有情感和心理兩方面的特征，可以看作是一種與后極簡主義形式相結(jié)合的情感感知容器,。她談到她的工作是“喜怒無?！焙汀耙蕾囌军c”,。她對某些材料的特殊性質(zhì)的關注跨越了所有媒介，從有質(zhì)感的顏料畫到使用純金或鑄造玻璃和橡膠,。 Roni Horn's works have both emotional and psychological characteristics, which can be regarded as a kind of emotional sensing container combined with post minimalist form. She talked about her job as 'moody' and 'dependent site'. Her attention to particular qualities of certain materials spanned all media ranging from textured paints to pure gold or cast glass and rubber.
Roni Horn的作品觸及到幾個不斷反復出現(xiàn)的主題,。即：同一性，易變性,，水,，冰島和雙重性格。而其中最重要的一個元素是水,，她嘗試過很多方法來表現(xiàn)水,，通過語言、攝影甚至冰島人的肖像,。 Roni Horn's works touches on several recurring themes. Namely: identity, variability,water,Iceland and dual personality. One of the most important elements is water, she tried many ways to express water through language photography and even portraits of Icelandic people.
萊恩·麥金利
Ryan McGinley
非常喜歡他的作品,！??
個人網(wǎng)站：http:///
“描繪裸體的青年在室外環(huán)境下歡悅的場景，就是對公共場所控制權(quán)及所有權(quán)的質(zhì)問,?！?/strong> 'depicting naked youths in outdoor circumstances is a scene of joy, is public places control rights and ownership questions. '
McGinley 2003年的展覽向大量觀眾群體展示了青年和青春的圖景，與南·戈爾丁和拉里·克拉克等藝術(shù)家對同一主題黑暗悲觀的解讀形成對比,。 McGinley's 2003 exhibition showcased youth and youth images to large audiences and contrasted with artists such as South William Clark and Larry Clark on dark pessimism about the same theme.
“我以一個純粹美國式的方式長大,，身邊到處都是人。我們都是一個容易接觸的,、感性的大家庭,。”因此拍攝的時候他很享受這些場景：“我的照片主題是慶祝生活,、樂趣和美麗,。他們是一個不存在的世界，一個幻想中的世界,，沒有規(guī)則,，真正自由。我希望我們都生活在這個世界,?！?nbsp; 'I grew up in a purely American way and everywhere I grew up.' We are all easy contact, emotional big family. 'so he enjoyed these scenes when filming:' my picture theme is celebrating life, fun and beauty. They are a world without existence, a world of fantasy, no rules, truly freedom. I wish we all lived in this world. '
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肖恩·蘭德斯 Sean Landers
個人網(wǎng)站：http://www./
“這些個人的痛苦被以此種創(chuàng)意且以時而難看的字體書寫出來，令人感到不安,?！?/strong>
'these individuals' pain is being written out in such creative and sometimes in ugly fonts, which makes them uncomfortable. '
蘇珊·希勒 Susan Hiller
個人網(wǎng)站：http://www./
蘇珊·席勒（Susan Hiller）在過去60多年的創(chuàng)作里一直致力于對信仰體系和意義的產(chǎn)生提出疑問,。她的創(chuàng)作策略與方法論涉及到了對真實與想象出來的現(xiàn)象的檢驗,，探索了人們未曾看到和未曾聽到的事物，以便創(chuàng)作出能讓人聯(lián)想到缺失、記憶和幽靈的藝術(shù)作品,。蘇珊·席勒（Susan Hiller）曾經(jīng)將自己的作品描述為是“一種考古式的調(diào)查研究，揭露某些事物以便讓人們感受到它的不同的一面”,，并且“關注了那些未曾說出來的,、不被人知道的、未經(jīng)解釋的以及被忽視的事物”,。她的作品反復地開拓著材料與形式的多樣性,，結(jié)合著范圍驚人的媒介。 Over the past 60 years, Susan Hiller has devoted herself to raising questions about the system of belief and its meaning. Her creative strategies and methodology involve testing the real and imaginary phenomena and exploring things that people have not seen or heard. In order to create works of art that can remind people of missing memories and ghosts. Susan once described her work as 'an archaeological study that exposes something so that people can feel its different side'. And 'focus on unspoken, unknown, unexplained and neglected things'. Her work repeatedly opens up a variety of materials and forms, combining an amazing range of media.
Susan Hiller, The Aura: Homage to Marcel Duchamp, 2011
影像作品“失物招領”（Lost and Found）
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泰米·本-托爾 Tamy Ben-Tor
Tamy Ben-Tor個展“New Performance Work”在紐約Zach Feuer畫廊
Ben-Tor無論扮演特定人物還是普通人,，都顯露出高超的批判和模仿才能,。
Whether Ben-Tor plays the role of a specific character or ordinary people, they all show a superb ability to criticize and imitate.
并且Ben-Tor寫道：“逃進另一個宇宙對我來說十分必要，這個宇宙中我不再是我,，而語言不再用來傳達信息,，我塑造的人物在現(xiàn)實中并不存在，然而他們是具體的,?！?/span>
And Ben-Tor wrote: 'it is necessary for me to escape into another universe, in which I am no longer me, and language is no longer used to convey information, and the characters I portray do not exist in reality.' But they're specific. '
http://www./exhibitions/tamy-ben-tor-new-performance-work/
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烏爾斯·費舍爾
Urs Fischer
烏爾斯·費舍爾一向以他的大膽創(chuàng)作,，富于想象,，和將現(xiàn)成品通過即興發(fā)揮的方式創(chuàng)作出藝術(shù)作品而聞名,。他的藝術(shù)實踐更多地關注物體本質(zhì),，創(chuàng)作行為的本身,，以及將前兩者結(jié)合起來的不可預測的創(chuàng)作過程,。他是“煉金術(shù)士”,，擅長在藝術(shù)史和地下文化中穿梭,，調(diào)動廢物美學的手法去推翻傳統(tǒng)的雕塑語言。 Urs Fischer has always been known for his bold, imaginative, and improvisational work of art. His artistic practice pays more attention to the essence of the object, the creation behavior itself, and the unpredictable creative process which combines the former two. He is a 'alchemist' who is good at shuttling through art history and underground culture, using waste aesthetics to overthrow the traditional sculpture language. 在他的雕塑作品中,，他總是想盡一切辦法將看似普通，與藝術(shù)無關的普通物品,，如家具，水果,，蔬菜,，玻璃杯，鏡子，聚苯乙烯泡沫塑料,，臘等轉(zhuǎn)換成非同一般的元素,，來體現(xiàn)他對于材料的實驗性的改革。這與他深信每件物品都有他自己的獨特性而存在,，即所謂的raw energy,，他將這些日常物件加以拆解，組合并重新賦予它們新的定義,。 In his sculptures, he always does everything he can to make ordinary, non-artistic items, such as furniture, fruit, vegetables, glasses, mirrors, polystyrene foam. Wax and others were converted into unusual elements to reflect his experimental reform of materials. This is in the belief that every object has its own uniqueness, the so-called raw energy.He disassembles these everyday objects, assembles them and reinvents them to a new definition. 他的藝術(shù)通過材料間的轉(zhuǎn)換反映了潛在的內(nèi)在沖突和矛盾,，在美麗與丑陋，端莊與笨拙,，優(yōu)雅與負荷之間的共存性，有效地將現(xiàn)成品融合在雕塑中來反映平凡陳腐的日常生活的復雜性和彷徨,。這與他本人喜歡事物之間的沖突,，物件與物件之間的關聯(lián)是分不開的。 His art reflects the underlying conflicts and contradictions between materials, the coexistence between beauty and ugliness, modesty and clumsiness, elegance and load. Effectively integrate the existing products in the sculpture to reflect the complexity and loss of the ordinary and stale daily life. It is inextricably related to the conflict between the things he likes, the connection between objects and objects. 費舍爾是一個極具想象才能的藝術(shù)家,，之前他就曾用各種各樣的材料進行創(chuàng)作,，如半融狀態(tài)的蠟和腐爛的蔬菜等不易控制的材料。無論是用面包建房,，給機器人和動物玩偶賦予生命,，還是將各種物品肢解以探究人類與他們之間的關系，抑或鑿穿地板,，在畫廊墻壁上鉆孔,，一切的一切，無不向人們展示出這位近乎瘋狂的藝術(shù)家似乎在探尋人類感官的微妙變化,，同時,，他的作品也煥發(fā)出波普藝術(shù)和新巴洛克完美融合的奇幻味道。 Fischer is a very imaginative artist, he has been using a variety of materials, such as semi-melted wax and rotten vegetables and other uncontrollable materials. Whether it's building houses with bread, giving life to robots and animal dolls, dismembering objects to explore the relationship between humans and them, or cutting through the floor, drilling holes in gallery walls, everything. All show people that this nearly crazy artist seems to be exploring the subtle changes in the human senses, while his works also radiate the fantasy taste of the perfect fusion of pop art and the new Baroque. 一些評論家認為他的作品在某種程度上是與世隔絕的,，或者說作品內(nèi)在有一個屬于他自己的藝術(shù)世界,。也有評論家認為他的作品是具有社會性的，觸及到藝術(shù)史范疇,，但又不是附屬于學院風格,，同時又能取悅于大眾。這可能與他從沒有進過藝術(shù)院校學習有著密切關系,，因為他相信藝術(shù)理念除了可以從書中學來之外,，日常生活中，藝術(shù)無處不在,。 Some critics believe that his works are somewhat isolated from the world, or that there is an artistic world within his own. Some critics think that his works are social, touching on the field of art history, but not attached to the academic style, but can please the public at the same time. This may have something to do with the fact that he has never been to an art college, because he believes that art is everywhere in everyday life, in addition to being able to learn from books.
《你》：
地上的一個大坑,，構(gòu)成了一個裝置展覽,。
A large pit on the ground forms an exhibition of installations.
其他作品：
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沃爾夫?qū)さ贍柭?/strong>
Wolfgang Tillmans
“親密的性愛與家庭場景、舞廳,、名人和國外旅游的記錄相互碰擊,。” 'intimate sex meets family scenes, ballroom, celebrity and foreign travel records. '
一個具有多重身份的藝術(shù)家：模特,、音樂人,、攝影師、策展人
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扎林娜·比姆基 Zarina Bhimji
扎琳娜·比姆基的作品具有即時性,，她的實踐工作包括攝像、裝置,、拍攝和音樂都是經(jīng)過了廣泛的研究才開始的,。她經(jīng)常拍攝一些荒蕪人煙的場景—機場、年久失修的建筑,、公墓等,，再配上一些煽情的名字如“爸爸關閉了他的心”（Bapa Closed His Heart）、“結(jié)束了”,、“忘記我們”（Forgotten Us）“驚的山羊”（Frightened Goats）,。這更進一步增強了她作品中所透露出的不安情緒。
Zalena Bimsky's works are immediate, and her practical work, including photography, installation, photography and music, has been extensively studied. She often takes scenes of desolation-airports, dilapidated buildings, cemeteries, etc. With some sentimental names such as 'Daddy closes his heart' (Bapa Closed His heart), 'over', 'forget us' (. (Forgotten us) 'frightened Goats'. This further reinforces the uneasiness revealed in her work.
如她的攝像作品一樣,，扎琳娜·比姆基在《走出憂傷》中運用了美學語言來表達她的興趣和想法,，通過對合成、色彩和表面結(jié)構(gòu)的精雕細琢,，她把建筑和風景轉(zhuǎn)化成了情感符號,。比起其他因素來，比姆基或許更注重光效,，有時候她會觀察同一塊地方長達幾個小時的時間,，直到太陽升到所期待的高度。光表達的是一種美感,，但這種美感最終必然會破碎,。對于她而言，陽光具有表達深層次情感的功能——“春天的陽光帶有悲傷的意味”（spring light has qualities of grief）,。隨著時間的流逝,，她所記錄的美景變成了惡性的荒涼之地，而這種處理手法正是她從英國風景繪畫的傳統(tǒng)手法中學來的,。她的作品中沒有直線性的敘述,，取而代之的是能夠體現(xiàn)人類普遍情感—愛、歡樂,、背叛和悲傷—的場景,。隨著場景自然節(jié)奏的變化,，具體的地點變成了抽象的情感，建筑也被賦予了心靈,。 Like her camera work, Zalena Bimsky uses aesthetic language to express her interests and ideas in 'out of Sorrow,' through careful elaboration of composition, color, and surface structure. She turned architecture and scenery into emotional symbols. Bimchi may be more focused on light efficiency than any other factor, sometimes observing the same area for hours until the sun rises to the desired height. Light expresses a sense of beauty, but it is bound to break in the end. For her. Sunlight has the power to express deep emotions-spring light has qualities of grieve. As time went on, the beauty she recorded turned into a vicious desolation, which she had learned from the traditional methods of British landscape painting. There is no linear narrative in her works, but a scene that reflects the universal emotions of human beings-love, joy, betrayal and sadness. With the change of the natural rhythm of the scene, the concrete place becomes abstract emotion, and the architecture is endowed with the mind.
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