悬挂在伦敦泰特美术馆的Cerith Wyn Evans的霓虹涂鸦
Neon scribbles by Cerith Wyn Evans hang in London's Tate Britain

由专筑网Yumi，严越编译

近两公里的霓虹灯带形成了锐利的线条和弧线形式，这一装置由威尔士的艺术家 Cerith Wyn Evans设计，它被悬挂在英国泰特美术馆的杜维恩展厅里。

Wyn Evans主要的新装置是“光（时间）在空间中的形态... ”，它的创作是为泰特英国美术馆委员会，由拍卖行Sotheby赞助。照明结构分成三个部分，从单个的霓虹灯圈演变成三个一组的圆盘。

这种形式类似草图和粗糙的图纸，好像通过数码单反相机在慢速快门设置下捕捉火烧时“光的痕迹”。

Almost two kilometres of neon lighting shaped into sharp lines and sweeping forms create this installation by Welsh artist Cerith Wyn Evans, which is suspended in the Tate Britain's Duveen Galleries.
Forms in Space... by Light (in Time) is a major new installation by Wyn Evans, created for the Tate Britain Commission and supported by auction house Sotheby's. The lighting is structured in three parts, emerging from a single neon ring before developing into a collection of three discs.
The forms appear as scribbles and rough drawings, similar to "light writing" with a torch captured by a DSLR camera on a slow-shutter-speed setting.

伸出的杂乱标记是很锋利而且是更有目的的形状和符号，形成了整个图形的轮廓。这些迷宫般的线条，旨在模仿物理和运动姿势，如脚步和折叠材料。

Wyn Evans 把这三种形式描述成“眼科医生的见证人”，参考了艺术家马赛尔•杜尚的雕刻《The Bride Stripped Bare by Her Bachelors, Even/The Large Glass(1915-23)》，作品在1975年捐赠给泰特美术馆收藏。

走在长长的杜维恩画廊，悬挂的雕塑似乎随着观察者移动，在他们的观察角度改变时，看到的图案也发生了变化。

在曲线、圆圈和锯齿状直线之间，光雕塑中的动力学反映出艺术家对舞蹈学的兴趣——把运动转换成符号形式的实践。Wyn Evans的创作也受到日本能乐的编排和精确动作的影响。

Jutting out from these tangled marks are sharper and more purposeful shapes and symbols, framing the perimeter of the forms. These maze-like lines are intended to mimic physical and kinetic gestures, like footsteps and folding material.
Wyn Evans describes these three forms as "oculist witnesses", referenced by artist Marcel Duchamp in his sculpture The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915-23), which was donated to the Tate's collection in 1975.
When walking through the long Duveen Galleries, the suspended sculptures appear to move with the viewer as the patterns created shift with their changing perspective.
Between the bursts of curves, loops and jagged straight lines, the kinetics in the light sculptures reflects the artist's interest in choreology – the practice of translating movement into notational form. Wyn Evans also drew influence from the codified and precise movements of Japanese Noh theatre.

“Cerith近20年来为英国和国际艺术作出独特的贡献，”泰特美术馆的负责人 Alex Farquharson说。“这个权威的委员会证实了他的能力，创建了一个极具挑战性规模的光结构，从他的项目中揭示了丰富世界中诗意的想法。”

Wyn Evans 开始他的事业时是作为一个实验性的电影制片人，随后在不同的媒体中融入他的实践，包括装置艺术、雕塑、摄影、电影和文章。

这位艺术家设计的其它定点光装置包括：受Malmo Live委托的雕刻品E=V=E=N=T (2015)；新的文化中心和音乐厅；在汉莎航空公司的法兰克福总部，“ARR / DEP”（为鸟虚构的风景）（2006）。

“每年，目标性、创造性和庞大的规模的作品都会把游客吸引到宏伟壮观的杜威恩画廊去，”Alex Branczik说，他是索斯比当代艺术公司的主管。

“今年，很荣幸地庆祝我们对这些作品10周年的支持，一如既往地不应该错过Cerith Wyn Evans的建筑照明装置。”

之前300米长的新古典主义的杜威恩画廊展示的作品包括：Phyllida Barlow的码头（2014）， Fiona Banner的鹞和捷豹（2010）和Martin Creed的Work No.850 (2008)。

该画廊位于伦敦的Pimlico主建筑前，由美国的建筑师John Russell Pope设计并于1937年完成，随后于2013年由伦敦公司Caruso St John整修。

图片：Tate Photography

"Cerith has made a unique contribution to British and international art for over two decades," said Tate Britain director Alex Farquharson. "This compelling commission demonstrates his ability to create structures out of a light on a challenging scale and reveals the rich world of poetic ideas that informs his projects."
Beginning his career as an experimental filmmaker, Wyn Evans has incorporated diverse media into his practice, including installation, sculpture, photography, film and text.
Other site-specific light installations by the artist include E=V=E=N=T (2015), a sculpture commissioned for Malmo Live, a new cultural hub and concert hall, and "Arr/Dep" (imaginary landscape for the birds) (2006), at airline Lufthansa's Frankfurt headquarters.
"Every year the ambition, inventiveness and sheer scale of the Tate Britain Commission captivates visitors to the magnificent Duveen Galleries," said Alex Branczik, Sotheby's head of contemporary art.
"This year, we are proud to be celebrating the tenth anniversary of our support for the commission, which is as unmissable as ever with Cerith Wyn Evans' architectural light installation."
Previous commissions for the 300 metres-long neoclassical Duveen Galleries include Phyllida Barlow's dock (2014), Fiona Banner's Harrier and Jaguar (2010) and Martin Creed's Work No.850 (2008).
The galleries are situated at the front of the main building in London's Pimlico, designed by American architect John Russell Pope and completed in 1937, then renovated by London firm Caruso St John in 2013.
Images are by Tate Photography.


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