即將展出 Upcoming Exhibition |《安迪·沃霍爾：接觸》Andy Warhol: Contact
木木美術館榮幸地宣布將於2016年08月06日-2017年1月07日舉辦波普藝術大師安迪·沃霍爾展覽——《安迪·沃霍爾：接觸》，展覽由木木美術館展覽總監Presca Ahn 策展，將呈現這位二十世紀最具影響力的藝術家一系列開創性、具有劃時代意義的影像、攝影及互動裝置作品。此次展覽也將開啟未來三年木木美術館的一系列重要專題展覽。感謝芬蘭專業淨化器品牌LIFAair對本次展覽的冠名支持，以及獨家媒體合作夥伴T Magazine、戰略合作夥伴HUBLOT宇舶表、戰略合作夥伴NUO諾金、獨家出行方式平台Uber優步對本次展覽的鼎力支持。
M WOODS is pleased to announce Andy Warhol: Contact, an exhibition of groundbreaking film, photography, and interactive installations by one of the twentieth century’s most influential artists. Curated by M WOODS Director Presca Ahn, it is the first in a series of major solo exhibitions planned at the museum over the next three years. Andy Warhol: Contact is chiefly supported by air purifer manufacturers LIFAair, with sponsorships and media support from HUBLOT, NUO, UBER, and T Magazine.
《安迪·沃霍爾：接觸》將首次以沃霍爾作品中的機械生產方式和實驗性為中心，為中國觀眾呈現安迪·沃霍爾打破藝術邊界的攝影、裝置、影像等多個系列作品。在沃霍爾所處的時代，這些以當時新媒介進行的創作曾打破當代藝術的邊界，直至今日，仍以其卓越的即時性、直接性持續衝擊、感染著當下的觀眾。
The first exhibition in China to focus on the experimental, mechanically produced areas of Warhol's practice, Andy Warhol: Contact features photographs, installations, and films that broke the boundaries of contemporary art when they were first made, and still compel viewers today with their extraordinary immediacy.
沃霍爾用相機和其他創作方式闡釋著一個被忽視的主題，既人類在時間的長河面前的轉瞬即逝。從他1960年間的極簡電影到他短暫的裝置作品創作再到寶麗來肖像照，這些作品的技術手段使沃霍爾對時間之於藝術家與主題之間的關係進行著探索。
Made by Warhol using cameras and other machines, the works illuminate an overlooked theme in Warhol's famed body of work: human evanescence in the face of time. From his minimalist films of the 1960s to his ephemeral installations to his instant film portraits on Polaroid, these works' technical means of production enable distinctly Warholian explorations of time in relation to both subject and artist.
展覽中將展出一組沃霍爾在20世紀六十年代創作的名為《試鏡》的默片肖像系列以及七十至八十年代用寶麗來拍攝的照片。 《試鏡》系列的名字取自電影選角時通常會拍攝的短片，記錄了眾多藝術家、名流以及沃霍爾工作室兼社交據點“工廠”的常客，包括馬塞爾·杜尚、鮑伯·迪倫、薩爾瓦多·達利、盧·里德、艾迪·塞奇威克等。
The silent film portraits from the 1960s that he collectively called the Screen Tests, and his portraits of himself and others that he shot on Polaroid film throughout the 1970s and ‘80s. Taking their name from the short films typically made of actors auditioning for film roles, the Screen Tests portray a wide range of artists, celebrities, and Factory regulars such as Marcel Duchamp, Bob Dylan, Salvador Dali, Lou Reed, and Edie Sedgwick.
寶麗來照片系列更像是沃霍爾製作的他自己以及他的社交圈的文件編檔，沃霍爾對這種日記般地記錄自己和周圍社交圈的熱衷，遠遠早於互聯網時代和社交媒體帶來的“自拍”潮流。展出作品包括如約翰·列儂、西爾維斯特·史泰龍、穆罕默德·阿里、羅伯特·勞森伯格等眾多藝術家和各界名流的寶麗來相片。儘管《試鏡》系列與寶麗來照片將人像攝影變得充滿瞬時性，但不論所拍攝的對像是否有名，是否仍然在世，這兩個系列的作品在現在都是紀錄過去的重要文件。
With the Polaroids, Warhol enacted an obsessive, diaristic documentation of himself and those in his circle, capturing them in time with the most instantaneous medium then available. Having brought new heights of instantaneousness to the genre of portraiture when they were created, the Screen Tests and Polaroids now also serve as documents of the past, whether their subjects are famous or obscure, still living or now dead.
此外，沃霍爾1963年的影像作品《吻》也將在《安迪·沃霍爾：接觸》展出。影片拍攝一對對戀人在鏡頭前接吻的行為，相比接吻這一親密行為，給人帶來強烈衝擊感的是，一系列的接吻鏡頭被連續地剪輯在一起，以及鏡頭極度靠近拍攝對象而產生的侵略感。 《吻》這一作品證明了沃霍爾對於影像媒介的興趣不止於對名流和自己的記錄，而是以冷靜的人類學視角，將觀者推向對人類感情的經典表達的深思。
M WOODS will also screen Warhol’s radical underground film Kiss (1963), which shows multiple couples, one after the other, kissing for minutes on end. Like other Warhol films of this period such as Sleep, Eat, and Empire, Kiss is an experiment in minimalist, durational cinema. Its serial format and intrusive framing contrast starkly with the intimacy of the acts portrayed; presented without context or narrative, the “actors” in Kiss are the opposite of romantic film stars. Rejecting the cinematic conventions of personality-driven characters and narrative-driven time, Kiss forces a cold, anthropological contemplation of this classic expression of human passion, questioning what it means truly to make contact.
這次展覽的另一個亮點是沃霍爾的裝置作品《銀雲》，熒光的、枕頭一樣的作品輕輕漂浮在展覽空間中。這件作品1966年初次在紐約的里奧·卡斯特里畫廊展出，觀眾可以隨意觸碰、在這些雲朵中移動，成為最早將沉浸式的互動的理念引入藝術裝置的作品。
A highlight of the show is an installation of Warhol’s Silver Clouds, glimmering pillow-like shapes that float gently through the exhibition space. When the work was first shown at New York’s Leo Castelli Gallery in 1966, viewers were free to touch and move among the Clouds, making the work one of the earliest examples of an immersive, interactive art installation.
“在這些作品中，沃霍爾以機器生產的方式和固定的重複形式削弱了由藝術家之手施加於作品的痕跡。”Presca Ahn評論道，“儘管如此，這些作品卻流露出一種非常人性的、個人化的，甚至是詩意的特質，這種平衡與張力使得作品時至今日仍如此引人入勝。”
The works in Andy Warhol: Contact reflect dialectics that animated Warhol's wider career: between the personal and impersonal, fame and anonymity, slowed-down time and the fleeting instant, remoteness and contact. “In all these works, Warhol minimized the touch of the artist’s hand by using mechanical production and a standardized or repetitive format,” said Ahn. “Despite this, many of them radiate a very human, personal quality, and they have a pathos or an energy that transcends the technical or automatic character of the medium. This tension is what makes the works so arresting, even now.”
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