Photograph by Ruth Clark, courtesy of the artist, the British Council and Hauser & Wirth

2017年威尼斯艺术双年展上必须要看的12件艺术作品
12 must-see installations and exhibitions at the Venice Art Biennale 2017

由专筑网李韧，韩平编译

随着第57届威尼斯艺术双年展的举办，主编Olivia Mull选择了一些质量上乘的设计作品、空间装置和展览空间展示给大众。

威尼斯艺术双年展是世界上最大和最古老的艺术节。

从1895年开始，这个节日的发展已经超出了原有的两个主要场馆，即Arsenale和Giardini。现在的展览设施和展览中心已经不仅仅局限在展览馆、城市广场、教堂里，其中仍有许多作品通常不对公众开放。

今年的双年展持续到11月26日，它是由蓬皮杜中心的Christine Marcel所主持，主题为“艺术永生”（Viva Arte Viva），她说：“艺术由艺术家而生，艺术是艺术家的一切。”

然而在本次的展览中艺术家、策展人、建筑师、设计师、音乐家等都有合作的作品。他们的作品范围广泛，从建筑设计到空间表现，涵盖主题包括了生活和社会的各个方面。

那么请跟着我们来看看以下12个不容错过的优秀作品：

With the 57th edition of the Venice Art Biennale now open to the public, managing editor Olivia Mull selects some of the best design-led exhibitions, spatial installations and pavilion takeovers.
The Venice Art Biennale is the world's biggest and oldest art festival – and the model on which all biennales are based.
Started in 1895, the festival has outgrown its two main venues – the Arsenale and Giardini. Now exhibitions, installations and national pavilions spill out of palazzos, squares and churches across the Italian city, many of which are usually closed to the public.
This year's biennale runs until 26 November. It was curated by Christine Marcel of the Pompidou Centre under the title Viva Arte Viva, which she describes as "designed for artists, by artists, with their practice in the centre".
However artists, curators, architects, designers, musicians and refugees have all collaborated on works for this year's show. They range from architectural installations to spatial performances, covering topics embracing all aspects of life and society.
Read on for our guide to 12 that are not to be missed:


Photograph by Matthieu Salvaing

Dialogo（Ettore Sottsass 和 Carlo Scarpa）
圣马可广场 Olivetti 展厅

一个米兰设计师和孟菲斯集团创始人Ettore Sottsass的陶瓷展览，陈列在圣马可广场的Olivetti展厅，这些作品在1957年由威尼斯建筑师Carlo Scarpa翻新设计，由收藏家Charles Zana提供展览，所有作品表明了两个意大利人之间的工作对话。

这七十件陶瓷作品在1957年至1969年间由Sottsass制作，它们摆放展示在两层的空间内。三个1米5高的彩色图腾展示在展厅前方，而较小的几何花瓶则坐落在窗台上。

Dialogo: Ettore Sottsass and Carlo Scarpa
Olivetti showroom, Piazza San Marco
An exhibition of Milanese designer and Memphis group founder Ettore Sottsass' little-known ceramics is on display at Olivetti's Venice showroom, which was renovated by Venetian architect Carlo Scarpa in 1957. Curated by collector Charles Zana, the show sets up a dialogue between the work of the two Italians.
Seventy pieces – created by Sottsass between 1957 and 1969 – are positioned throughout the two-storey space. Three 1.5-metre-tall coloured totems stand in the shop front, while smaller geometric vases sit on the sills of lens-shaped windows.


Photograph by Riccardo Tosetto, courtesy of the artist

制衡：石头与山峰（Cody Choi 和Wan Lee）
Giardini 韩国展馆  

一系列花哨的霓虹灯与 “Free Orgasm”和“Major Credit Cards”的标语覆盖着韩国展馆的屋顶，这样的做法参考了拉斯维加斯和澳门赌场的外观设计。这幅名为威尼斯狂想曲的作品由艺术家Cody Choi创作，用以反映“全球资本主义的景象”。

展馆内部都是Cody Choi和韩国艺术家Wan Lee的作品，作品通过一个个小故事来探索韩国传统文化。这些作品包括已故的韩国记者K先生的巨大档案和拥有668个时钟的墙，它们的运行速度取决于一顿饭的时间。

Counterbalance: The Stone and The Mountain by Cody Choi and Wan Lee
Korean Pavilion, Giardini
A collection of garish neon signs complete with phrases including "Free Orgasm" and "Major Credit Cards" cover the roof of Korea's national pavilion as a reference to the casinos of Las Vegas and Macao. The piece – titled Venetian Rhapsody – was created by artist Cody Choi to reflect on the "spectacle of global capitalism".
Artworks by Choi and fellow Korean artist Lee Wan fill the inside of the pavilion, all of which explore Korean identity through personal stories. Pieces include the vast archive of deceased Korean journalist Mr K and a wall of 668 clocks, moving at a rate determined by the amount of time it takes for individuals to earn a meal.


Photograph by Maria Nitulescu, courtesy of the artist and the Georgian Pavilion

Living Dog Among Dead Lions（Vahjiko Chachkhiani）
Arsenale 格鲁吉亚展馆

今年的格鲁吉亚馆以废弃的小木屋的形式展出，这是由艺术家Vajiko Chachkhiani在格鲁吉亚的农村发现的作品，小屋里只有一些家具、图片、照明灯光等家居用品。

Chachkhiani用数百个洞口和灌溉系统安装在这个小屋里模拟一场永无止境的暴雨。地板和家具上全是水坑，涓涓细流使木材出现裂纹。参观者可以观看内部的腐烂过程，而房子的外观却依旧保持不变。

Living Dog Among Dead Lions by Vahjiko Chachkhiani
Georgian Pavilion, Arsenale
This year's Georgian Pavilion takes the form of small abandoned wooden hut, found in the Georgian countryside and reassembled by artist Vajiko Chachkhiani on-site. Furniture, pictures, lights and other household items are the only occupants of the cabin.
Chachkhiani has simulated a never-ending rainstorm inside the hut by puncturing the ceiling with hundreds of holes and installing an irrigation system above. Water puddles on the floor and furniture, and trickles through cracks in the wood. Visitors can watch the interior decay and rot over the course of the biennale, while the exterior of the house will remain untouched.


Photograph by Ruth Clark, courtesy of the artist, the British Council and Hauser & Wirth

Folly（Phyllida Barlow）
Giardini 英国馆

在新古典主义的英国馆入口，有一个巨大球状彩色雕塑，其上部穿插着许多细长的金属管。在内部，柱网绵延出现，满墙的彩色木板和凸出的钉子十分夺目。

这是由73岁的英国雕塑家Phyllida Barlow受英国文化协会委托设计，雕塑是由硬纸板、油漆、泡沫、胶合板和混凝土制作而成。它们类似巨型漫画玩具和戏剧建筑遗址。

Folly by Phyllida Barlow
British Pavilion, Giardini
Huge bulbous coloured sculptures, skewered on spindly metal stands, cluster around the entrance of the neo-classical British Pavilion. Inside, a forest of grey columns overwhelm the interior of one gallery space while in another, a wall of coloured wooden panels with protruding spikes leans precariously.
Created by 73-year-old British sculptor Phyllida Barlow and commissioned by the British Council, the monumental sculptures are constructed from cardboard, paint, foam, plywood and concrete. They resemble both giant comic toys and theatrical architectural remains.


Photograph by Nadine Fraczkowski, courtesy of the artist and the German Pavilion

Faust（Anne Imhof）
Giardini 德国馆

艺术家Anne Imhof为了这个作品Faust而改造了纳粹时代的一个德国展馆。前部入口已用防暴铁丝网和一条杜宾犬封锁。在内部，一个让人毫无安全感的凸起玻璃地板跨越架空区域和与玻璃底座伸出的墙壁相连。

在展览当天，一群身着黑色运动服的年轻演员完全占据了这个空间。伴随着刺耳的背景音乐，他们在玻璃地板下爬行、拖着自己的脚、并且做出奇怪的是拥抱。

不可否认，作品Faust已获得今年的金狮奖。评审团描述这个作品为“一个令人毫无安全感的装置，让我们意识到时间的紧迫”。

Faust by Anne Imhof
German Pavilion, Giardini
Artist Anne Imhof has transformed the Nazi-era German Pavilion into a hostile stage set for her Faust exhibition. The front entrance has been blocked with anti-riot wire fencing and a pair of Doberman dogs stand guard. Inside, an unnerving raised glass floor spans the white space and glass pedestals jut out from the walls.
At points in the day, groups of young performers dressed entirely in black sportswear occupy the space. They move emotionlessly amongst visitors against a backdrop of harsh metallic music – crawling under the glass floor, dragging their feet and bizarrely embracing.
Undeniably the busiest pavilion, Faust has been awarded this year's prestigious Golden Lion prize. It was described by the jury as "a powerful and disturbing installation that poses urgent questions about our time".


Photograph by Sandro E E Zanzinger, courtesy of TBA21

绿灯项目（Studio Olafur Eliasson、Thyssen-Bornemisza Art Contemporary）
Giardini 中央馆

柏林艺术家Olafur Eliasson的绿色项目位于中央馆的中央。它汇集了游客、艺术家设计的几何灯具，用于出售，所有收入都用于为两个非政府组织筹集资金。该项目围绕着合作和对话所展开，在这里也可以进行研讨会、电影放映等活动。

Eliasson说，绿色照明表现了一个“适度的战略，用以应对由大规模迁移所带来的挑战和责任”--这是整个双年展的主题。

Green Light project by Studio Olafur Eliasson and Thyssen-Bornemisza Art Contemporary
Central Pavilion, Giardini
Berlin-based artist Olafur Eliasson's Green Light is a workshop-cum-studio at the heart of the Giardini's Central Pavilion. It brings together visitors and refugees to make geometric lamps designed by the artist, which are then on sale to raise money for two NGOs. The project is centred around collaboration and conversation, with language courses, seminars and film screenings also being hosted in the space.
Eliasson says Green Light displays a "modest strategy for addressing the challenges and responsibilities arising from mass displacement and migration" – a recurring theme of the whole biennale.


Photograph by Joshua White, courtesy the artist and Hauser & Wirth

明天是新的一天（Mark Bradford）
Giardini 美国馆

美国艺术家Mark Bradford把庄严的帕拉第奥风格的美国馆设计成一片废墟。游客走过散落的砾石、通过侧门进入展馆。第一个房间内有一个红黑色巨型穹顶天花板，中央大厅是已经散落成片状的墙体。

来自洛杉矶的Bradford借此来体现对黑人以及同性恋的歧视的抗议，特别是在今天的美国，还有一些被边缘化的群体。Bradford说：“我觉得我们已经取得了很大的进步，以往的许多不公目前已经消失。”

Tomorrow is Another Day by Mark Bradford
US Pavilion, Giardini
American artist Mark Bradford has turned the stately Palladian-style US Pavilion into a ruin. Visitors are greeted by litter scattered across the gravel outside, before entering the pavilion through a side door. The first room has a bulbous red and black mass hanging from the ceiling where it appears to have given way, and the central rotunda now has peeling and patchy walls.
Los Angeles-based Bradford intends for the crumbling pavilion to address the discrimination of black, gay and other marginalised groups, particularly in America today. "I felt like a lot of the progress we've made to be inclusive, to make sure young little trans kids are safe, was gone in the blink of an eye," Bradford said.


Photograph by Gréaudstudio, courtesy of the artist, Cody Choi

旧工厂（Loris Gréaud）
Murano Campellio della Pescheria

法国艺术家Loris Gréaud对威尼斯著名的中心岛上一个废弃的工厂进行了改造。

该工厂被改造为一个重复的生产线，用手工劳动创造了多达1000件作品挂在工厂的屋顶上。Gréaud将这个令人身临其境的工厂称作是“真实生动的场面”。

The Unplayed Notes Factory by Loris Gréaud
Campellio della Pescheria, Murano
For this year's biennale, French artist Loris Gréaud has resurrected a disused factory on the island of Murano – Venice's famous centre of glassmaking.
The furnace is transformed into a repetitive and hypnotic production line, with glassblowers working to create up to 1,000 pieces that hang from the roof of the factory. Gréaud describes the immersive exhibition – titled The Unplayed Notes Factory – as a "true tableau vivant".


Photograph by Prudence Cuming Associates, courtesy of Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017

来自令人难以置信的灾难的宝藏（Damien Hirst）
Palazzo Grassi Punta della Dogana

英国艺术家Damien Hirst的来自令人难以置信的灾难的宝藏是当代艺术家有史以来展出的最昂贵的作品。巨大的作品占据了两个城市博物馆——Punta della Dogana和Palazzo Grassi，在这里包含了近200个全新作品，其中都包含有珍贵的材料，如黄金、大理石雕塑、青铜和水晶等。

这些作品大部分来源于在宫殿的庭院被斩首的16米硬壳的恶魔，这些作品在2000年前在海难中丢失，而后又被Turner奖获得者找到。Hirst的设计理念是”现实与创意”，旨在激发人们对于“所有关于你愿相信的东西”的讨论。

Treasures from the Wreck of the Unbelievable by Damien Hirst
Palazzo Grassi and Punta della Dogana
British artist Damien Hirst's Treasures from the Wreck of the Unbelievable is rumoured to be one of the most expensive exhibitions ever put on by a contemporary artist. The vast show takes over two of the city’s museums – the Punta della Dogana and the Palazzo Grassi – and contains almost 200 new artworks, including 100 sculptures in precious materials such as gold, marble, bronze and crystal.
The objects – the largest of which is a 16-metre barnacle-encrusted decapitated demon in the Palazzo's courtyard – were supposedly lost in a legendary shipwreck 2,000 years ago and rescued from the sea by the Turner Prize-winning artist. Hirst plays with the concepts of reality and originality, claiming the much-discussed exhibition is "all about what you want to believe."


Photograph by Giacomo Cosua, courtesy of the artist and ADAGP

Studio Venezia（Xavier Veilhan）
Giardini 法国馆

法国雕塑家Xavier Veilhan已经将他的国家展览馆变成了工作的录音棚，并把音乐置于其中。Veilhan在内部运用了一种面层木材，用以隔离巨大的声响。

在接下来的七个月里，超过100名音乐家（从古典到电子）将使用这里试验和记录他们的作品，不仅有个人独奏，也有与其他音乐家合作作品。

Studio Venezia by Xavier Veilhan
French Pavilion, Giardini
French sculptor Xavier Veilhan has transformed his national pavilion into a working recording studio, putting music at its centre. Veilhan remodelled the interior to create a faceted wooden, soundproofed shell with oversized instruments integrated into the floors.
Over the next seven months, more than 100 musicians – ranging from classical to electronic – will used the studio to experiment and record their work, both solo and in collaboration with other musicians.        


Photograph by Richard Ivey, courtesy of Michael Werner Gallery New York and London

金色塔（James Lee Byars）
Dorsoduro Campo San Vio

一个20米高的金色图腾柱竖立在威尼斯的Campo San VIO，这座金色塔在双年展期间将在运河边展出。塔上的雕塑由已故的美国艺术家James Lee Byars在1976年创作，这是第一次在公众面前展示。

这个概念由Fondazione Giuliani和Michael Werner Gallery提出，这个花了几个月工艺的发光塔完全镀金。因此，有值班人员24小时守护它，但从整个城市的各个角落都能欣赏它。

The Golden Tower by James Lee Byars
Campo San Vio, Dorsoduro
A 20-metre-tall golden totem has been erected in Venice's Campo San Vio and will tower over the Grand Canal for the duration of the biennale. The sculpture was created by the late American artist James Lee Byars in 1976 but is being exhibited in a public space – as Byars intended – for the first time.
Presented by Fondazione Giuliani and Michael Werner Gallery, the glowing tower is entirely gilded and took several months to craft. Consequently it is being guarded around the clock, but it can be spotted from across the city.


Photograph by Simon Vogel, courtesy of Galerie Nagel Draxler in Berlin/Cologne

船坞（Michael Beutler）
Arsenale Giardino delle Vergini

德国艺术家Michael Beutler的船坞装置是为了像Arsenale的原始身份致敬。艺术家采用传统欧洲和亚洲的木工技术构建了一个巨大的船坞。

成堆的木材、装置的下脚料和板桩给人以这里最近有人居住的错觉。这个装置位于Giardino delle Vergini，距离双年展中心展区较远。

Shipyard by Michael Beutler
Giardino delle Vergini, Arsenale
German artist Michael Beutler's shipyard installation is a salute to the original identity of the Arsenale. The artist has constructed an enormous floating boathouse from Douglas fir using a mixture of traditional European and Asian joinery techniques.
Stacks of wood, piles of offcuts and boards mounted with plans give the illusion of a worksite that has recently been inhabited. The ghostly worksite is located in the walled Giardino delle Vergini, away from the biennale crowds.


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