设在亚特兰大博物馆里亮蓝色的Arsham茶馆
Daniel Arsham installs bright blue tea house inside Atlanta museum

由专筑网朱王倩，韩平编译

美国艺术家和设计师Daniel Arsham建造了一个配有日本茶屋的蓝色禅宗花园，是亚特兰大高级艺术博物馆的三个重要的装置之一。
   
这次展览延续了Arsham的调查，即通过物理对象解读历史，但特点是这次采用的色彩他以往没有使用过的。

American artist and designer Daniel Arsham has built a blue zen garden complete with a Japanese tea house as one of a trio of installations at Atlanta's High Museum of Art.
The exhibition continues Arsham's investigation into the interpretation of history through physical objects, but features some of his first work in colour.
   

Daniel Arsham名为：沙漏，它还包括装在基于砂石计时装置中的铸件和由球体形成的紫色洞。
   
蓝色的禅宗花园每个星期日都有一个表演者耙沙，而有光泽的茶馆被坐在榻榻米上的女人雕像和选择的日常用品占据。

Titled Daniel Arsham: Hourglass, it also includes cast items encased in the sand-based timing devices and a purple cave formed from spheres.
The blue zen garden is routinely raked every Sunday by a performer, while the illuminated teahouse is occupied by the statue of a woman sat on tatami mats, and a selection everyday items.
   

“在沙滩上的女人形象使人想起庞贝，而一个日式灯笼和散落的物体给环境带来一种明显的居住感，好像被看守者隐士所占据”，博物馆说。
   
通过空间投射的声音也描述了花园的元素。

"The cast figure of a woman in the sand is reminiscent of Pompeii, while a Japanese lantern and scattered objects give the environment a palpable sense of dwelling – as if occupied by a caretaker-hermit," said the museum.
A voice projected through the space also describes the elements of the garden.
   

毗邻花园的是一个类似洞穴的设施，用于运动器材的展示。首先映入眼帘的是在去年纽约Galerie Perrotin展品，紫色的部分包括足球，篮球和网球模型。
   
它们与茶馆一起，是Arsham第一次离开纯黑色，灰色和白色色调的作品——在 Savannah学院或艺术设计的2016年个人展。

Adjacent to the gardenscape is a cavern-like installation created from casts of sports equipment. First shown at New York's Galerie Perrotin last year, the purple-hued piece comprises moulded footballs, basketballs and tennis balls.
Together with the teahouse, they form one of Arsham's first departures from a solely black, grey and white palette – as seen in his 2016 solo show at the Savannah College or Art and Design.
   

艺术家是色盲，但最近已经能够看到一个使用折射光线的特殊眼镜的更加充满活力的色调。
   
“生活肯定更细微，但我不确定它更有趣”，他说。“我感觉我在一个游戏里 ——一个过度饱和的世界里。”

The artist is colourblind, but has recently been able to see a more vibrant spectrum of hues using special glasses that refract light.
"Life is definitely more nuanced, but I'm not sure it's more interesting," he said. "I feel like I'm inside a game – an overly saturated world."
     

“但现在我到达了一个新的点，在我的作品中开始使用颜色作为另一个工具”，Arsham继续说。“这对我来说是一个独特的项目，因为有许多颜色，所以我认为看到观众反应是非常有趣的。”
   
楼下的沙漏每个星期天也由表演者翻转过去。在这个空间中，孩子的声音描述了被包裹在里面的物体，当细沙粒从顶部到底部逐渐下降时，物体会显露和隐藏。

"But now I've arrived at a point where I'm using colour as another tool in my work," Arsham continued. "This is a unique project for me in that there is a ton of colour, so I think it's going to be really interesting to see audiences react."
Downstairs, the hourglasses are also turned by a performer every Sunday. In this space, a child's voice describes the objects encased inside, which are revealed and concealed by the fine sand grains as they gradually fall from top to bottom.
   

这个展览扩展了艺术家的虚构考古学的工作，涉及用宝石和半宝石和金属铸造日常物品。
   
博物馆现代和当代艺术的策展助理Jonathan Odden说：“Arsham的装置挑战了我们对历史的看法，让人耳目一新。”

This exhibition expands on the artist's Fictional Archaeology body of work, which involves casting everyday objects in precious and semi-precious stones and metals.
"Arsham's installations challenge our perception of history as static and removed from individual experience," said Jonathan Odden, the museum's curatorial assistant of modern and contemporary art.
   

“历史对人类影响深刻，它创造我们每个人遇到的对象和事件，并且Arsham的作品提醒我们这些重要的联系。”
   
Daniel Arsham：沙漏展从2017年3月4日至5月21日在高级艺术博物馆举行，去年由JamieHayón举办了一系列动物形状的游戏设备。

"History is profoundly human, created from the objects and events each of us encounters, and Arsham's work reminds us of these important connections."
Daniel Arsham: Hourglass runs from 4 March to 21 May 2017 at the High Museum of Art, which hosted a set of animal-shaped play equipment by Jamie Hayón last year.
   

Arsham共同创立了建筑工作室Snarkitecture，之前创建的装置，涉及填补华盛顿国家建筑博物馆的近一百万个塑料球，已经在米兰创造的由半透明白色织物条组成的密集街区。

Arsham co-founded architecture studio Snarkitecture, which has previously created installations that involved filling the National Building Museum in Washington DC with nearly one million plastic balls, and creating a warren from strips of translucent white fabric in Milan.
   

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