Decision: Carsten Höller creates a new kind of fun at London's Hayward Gallery

由专筑网Vigo，刘庆新编译

如果博物馆的展览人潮涌动（纽约新惠特尼博物馆的确人满为患）， Carsten Holler功不可没。在名为“圈”的艺术展览里，他是不可替代的王者。

而今，“抉择”，贯穿他在伦敦的新展览和他在英国的一系列作品，都源自他对于“扭转”的奇思妙想。正如这个题目，“抉择的通道”，参观者会立刻面临在不被告知目的地的情况下，决定是否进入这个黑暗的金属管道。参观者可以在通过礼品商店的时候选择离开，就如同传统的游览路径一样，但Holler更希望参观者可以通过安装在建筑边上的两个等距的滑梯离开展览，并在这个过程中感受愉悦与疯狂。

If the museum show is increasingly becoming crowd-pulling spectacular (and it is, witness the long and patient queues outside the new Whitney in New York) then Carsten Höller is an above-the-title, headline act. In the art-show-as-circus model, he is the ring master and unapologetically so.
Decision, Höller’s new show at the Hayward Gallery in London, and the largest survey of his work in the UK to date, is he acknowledges, a funfair with a conceptual twist. As the title suggests, visitors are immediately faced with a choice of entrances before being funnelled into dark steel tunnels - Decision Corridors - with no real indication of where the tunnel is taking them. Leaving the show offers a similar dilemma. You can exit through the gift shop, as is now the traditional departure point, but Höller would much prefer you took one of the two (now trademark) isometric slides mounted on the side of the building, leaving the show, as he says, with the 'sensation somewhere between delight and madness.'

这个由Delvendahl Martin Architects设计的展览给人们提供了一个仙境般的选择。是否选择参与，也意味着未知。参与者也同样要游走于飞翔的蘑菇来感受翻天覆地。

And the exhibition, designed in collaboration Delvendahl Martin Architects offers other Wonderland-worthy choices along the way. Whether to take the pills that drop from the ceiling, contents and effects unknown for example. Visitors also have to navigate around flying mushrooms or turn the world topsy-turvy with the Upside Down Goggles.

300英镑可以预定博物馆晚上的流浪床，一种含有安全设施的自动漫游博物馆的床。助眠牙膏和早茶都包含在内。

For ￡300, truly committed Höllerites can even book a night at the museum in one of the two Roaming Beds, twin robotic berths which creep around the gallery using a complex system of lasers and radio beacons to avoid incident and injury. Dream-enhancing toothpaste and morning tea or coffee come as part of the deal.

这是个非常有趣的闭幕式。在Holler拆除他的滑梯以后，整个艺术馆将关闭两年进行整修。

以下便是Holler在展览过程中的采访。

For the Hayward, it is a dramatic closing act. Once Höller has demounted his slides, the gallery will shut for two years of refurbishment work.
Höller spoke to us during the installation of Decision...


W：你认为这个展览的结果是每个相互作用所导致积累，还是偶发的？

C：我并没有计划这个结果，我只是提供了一些可能性。这并不是仅仅去让你感受这些艺术作品，如果你愿意这么认为，这是关于你是否愿意观察别人的如何感受这些作品。这并不是用来展示我的内心世界，或者把我的想法传递给他人。我希望跟参观者一起来完成这个作品。


W：在这种重在分享体验的展览中，然而人们进入展馆之后，是否存在希望其他人离开的想法呢？

C：这不仅仅是分享，参观者变成了其中的一部分，你也成为了被参观的对象。当参观者选择了2个通道，每个都是75米长，都是竖向设置的。而在某处参观者会在其他人的上面或者下面，并且可以听到他们的对话。我很喜欢当人们走入一个展览时不得不进入某种通道，就像是被锁在一个渠道里一样。


W：而当他们进入到开敞空间时，这是否还是一个“有指导性的”体验？

C：两个通道相接变为一个，然后你将会看到飞翔的蘑菇，一种运动的装置，你可以推动这个装置，整个系统将会旋转。


W：我们当然要谈一谈滑梯。为了创造出特殊的体验，滑梯的设计是否有很多工程学的研究？

C：肯定的，这包含了对斜度以及曲率的研究，不能让参观者滑下去的时候太快，同时又不能让参观者在过程中停下来，也要保证安全系数。


W：你认为这是一中特殊的建筑么？

C：当然是啦。我给建筑设计过很多滑梯的方案，环绕的或者是连接型的。


W：但是这些滑梯必须好看，不能吓到人们。

C：当然。


W：Hayward艺术馆是一个很难驾驭的空间么？

C：并不是，我非常喜欢这里。这不是最漂亮的空间，但是我很喜欢这里。


W：你的展览是一个不间歇的战役，因为你认为艺术是需要远远观望，并且怀着期望变化的心情注视20秒之后，最终得到的升华。

C：这并没有错。这时常发生。人们有理由这么做。有些艺术并不需要人们参与。我参与的第一个艺术展，是在休斯敦的Rothko教堂，全程都只有我自己，甚至连一个警卫都没有。我那时是个科学家，还在德克萨斯大学工作，我进去的时候没想什么，但出来的时候却颇有收获，很难用语言来描述，类似于宗教体验。之后，我又在Tate再一次参观Rothko，但那里很多人，就没有办法参观完。因此这次展览是关于其他人。当然你也可以在那里住一晚上参观那些艺术品。


W：你提到过愉悦与疯狂。人们的确需要这种感受。人们也会通过酒精，极限运动，来达到这种状态？

C：不得不承认这的确是人类智慧，我们非常好奇其他的人如何看这个世界。这是一种驱动力。这种功利性对事物的态度也是一种方式，但也有其他的方式。


W：现在也有很多大型的空间，可以来制造一些极限空间。

C：这些展览只是一种游乐场的形式，你说的那些也有。有些展览太过夸张。我不仅仅希望重新建立娱乐的方式，也是我希望能够做出真的值得人们体验的娱乐。特别是当某一天，艺术成为了一个大众现象。人们更愿意去艺术馆，而不是游乐场。我希望创造新的娱乐方式，一种艺术的娱乐方式。

Wallpaper*: Do you think about a cumulative effect that builds with each interaction in the exhibition or can they happen randomly?
Casten Höller: I’m not really planning effects, I’m offering possibilities. This show is not just about you experiencing these art works, if you want to call them that, it is about whether you want to watch other people experiencing them. It’s not that I’m turning up and loading this space that with my inner visions or whatever, translating them into an object. I want to work with the people who come here.

W*: It’s important that it is a shared experience whereas most people turn up to a gallery and wish everyone else would go away?
CH: It’s not just shared, you are becoming part of the exhibition, you are becoming something to look at. It is also about indecision as well as decision. You pick two corridors, each 75 m long and go up and down. And at certain points you will be above the other people, walking on top of them, or underneath them and you will hear them. I like the idea that when you go into the show you have to go through something, like a lock in a canal.

W*: And then when they get into the open gallery space, is it still a kind of ‘directed’ experience?
CH: Well, the two corridors meet and there is a kind of corridor and then you will see the flying mushrooms, a kind of mobile, which you can push and the whole thing will spin.

W*: We have to talk about the slides of course. Is there much science in terms of engineering the slide to create a particular experience?
CH: Well, there is science in how steep it slopes and how it curves, otherwise you pick up too much speed. But you need to go quite fast so you can’t stop. Otherwise that would be dangerous.

W*: You think of them as practical architecture?
CH: Absolutely. I’ve made propositions to architects to use slides as a way of getting around a building or going from one building to another.

W*: But it is important the slides look beautiful, they don’t just shoot people out of the building?
CH: Absolutely. And they do.

W*: And is the Hayward a difficult space to work with?
CH: No, I like it. It’s not the most beautiful example of Brutalism but I like it a lot. It’s very yellow.

W*: Your exhibitions are an on-going battle with the idea that art is something that you stand a metre-and-half away from and stare at for 20 seconds, hoping for something to happen, that you find the sublime.
CH: Well, there is nothing wrong with that. It happens sometimes. There is a reason why people do that.
Some art though doesn’t work with other people. One of the first art shows I went to was at the Rothko Chapel in Houston and I was all alone, there was not even a guard there I think. I was a scientist, still working at Texas University and I went in sceptical but I came out with something new and profound, not really describable in words but comparable to a religious experience.  Then I saw the Rothko again at the Tate but there were so many people and the idea that you could contemplate them in such a context is ridiculous. That is why this show is as much about the other people. But you can also stay the night here and see the work alone.

W*: You have talked about the area between delight and madness. There is a human need for that. It is there in drugs and alcohol, in extreme sports, in all kinds of things?
CH: It is definitely part of our intelligence I would say, that we are curious about these other states of being, these other ways of looking at the world. It is a driving force. This utilitarian way of looking at things is one way, but there are other ways.

W*: There are these big gallery spaces now where you can become a kind of controlled extreme space...
CH: Well, this exhibition is a kind of a funfair, but that’s what exhibitions are these days. They are just pretending not to be, which is very strange. It’s not just that I want to rehabilitate the funfair, its just that I think that there is an idea in the funfair that is really worth exploring. Especially in an era when art has become such a mass phenomenon. That’s what people do, they come to the art museum rather than the funfair. I want to create a new kind of fun, an art kind of fun.

Carsten Holler

Carsten Holler是比利时艺术家，他曾经是学生物方向的科学家。1993年他离开科学事业，转向艺术创作。他的作品充满实验性。通过精心的控制与参观者的参与，弹指人类的知觉与逻辑的界限。

其在美国纽约的Experience展和英国伦敦的Decision展都大获成功。

这篇文章介绍他的Decision展览。


出处：本文译自www.wallpaper.com/，转载请注明出处。