威尼斯双年展中韩国馆展现出的统一与冲突
The Korean Pavilion at the Venice Art Biennale explores identity and conflict

由专筑网Yumi，杨帆编译

威尼斯双年展中的大韩民国国家馆里展出了崔玄周和Lee Wan的作品。现代汽车的艺术总监李大衡受到韩国艺术委员会的委任，把这次的联合展出命名为“平衡：石与山”，聚焦两位艺术家在现代韩国对于个性理解上的冲突与错位。

The republic of Korea’s national pavilion at the Venice Biennale presents the work of Cody Choi and Lee Wan. Commissioned by arts council Korea and curated by Hyundai Motor’s art director, Lee Daehyung, the joint exhibition entitled ‘Counterbalance: the stone and the mountain’, focuses on the conflicts and dislocation that the two artists perceive in modern Korean identity.


威尼斯狂想曲-虚张声势的力量（夜景）
崔玄周，威尼斯狂想曲——虚张声势的力量，2016-17。由霓虹灯，LED灯，钢，帆布，聚氯乙烯组成。尺寸为1243x1033x111cm。这个夜间装置在威尼斯第57届国际艺术展的韩国馆中展出。
Venetian Rhapsody – the power of bluff (night view)
Cody Choi, Venetian Rhapsody – the power of bluff, 2016-17. Neon, led, steel, canvas, pvc. 1243x1033x111cm. Night installation view at the Korean pavilion, 57th international art exhibition, La Biennale Di Venezia.

通过探索韩国不断变化的地位与西方日益增长的影响力之间的紧张关系，崔玄周的作品着眼于韩国的现代化进程。“威尼斯狂想曲”安装在展馆的屋顶，是一个霓虹灯招牌，策展人李大衡说：“该作品借用拉斯维加斯和澳门赌场的视觉氛围、反映了全球资本主义的奇观。”崔玄周的作品还有模仿“思想者”的雕塑，它再现了罗丹的雕塑，并用厕纸和粉红色的美国胃药制成。

Cody Choi’s work looks at Korea’s modernisation by exploring the tension between its changing identity and the increasing influence of the west. ‘Venetian rhapsody’ installed on the roof of the pavilion, is a glowing forest of neon signage that, says curator Lee Daehyung, ‘…Borrows freely from the visual ambiance of casinos in Las Vegas and Macao and reflects on the spectacle of global capitalism.’ Choi’s work also includes the parodic sculpture known as ‘the thinker’, a reinvention of Rodin’s sculpture constructed from toilet paper and the pink American stomach medicine Pepto-bismol.


威尼斯狂想曲-虚张声势的力量（日景）
崔玄周，威尼斯狂想曲——虚张声势的力量，2016-17。由霓虹灯，LED灯，钢，帆布，聚氯乙烯组成。尺寸为1243x1033x111cm。日间装置在威尼斯第57届国际艺术展韩国馆中展出。
Venetian rhapsody – the power of bluff (day view)
Cody Choi, Venetian Rhapsody – the power of bluff, 2016-17. Neon, led, steel, canvas, pvc. 1243x1033x111cm. Day installation view at the Korean pavilion, 57th international art exhibition, La Biennale Di Venezia.

李莞属于韩国艺术家中年轻的一代。在他的研究中，他调查了遍布亚洲及其他国家的全球权力结构下被剥削的的个人隐秘生活。他在今年的双年展中的作品是“适当的时候”，由668个时钟组成，每一个钟表上都描述了这位艺术家在世界各地会见的人的名字、出生日期、国籍和职业，展现人们所处的迥然不同的经济环境。李大衡说：“每个时钟以不同的速率转动，这取决于所讨论的个体要花费多少时间才能赚取一顿饭。”其结果是抽象画的荒诞聚合，充分展现了嘈杂的、令人头晕目眩的和仿佛身临其境的全球不平等性。

Lee Wan belongs to a younger generation of Korean artists. Through his work, Lee Wan investigates the hidden lives of individuals exploited by global power structures in countries all over asia and beyond. Among his works at this year’s Biennale Arte is ‘proper time’, which consists of 668 clocks, each inscribed with the name, date of birth, nationality and occupation of individuals the artist met and interviewed around the world, researching the widely differing economic circumstances of working people. According to Lee Daehyung, ‘each clock moves at a different rate that is determined by the amount of time the individual in question must work in order to afford a meal.’The result is an absurdist aggregation of abstract portraits that doubles as a loud, dizzying multi-sensorial and immersive representation of global inequality.



李大衡在谈论到这次展览时说：“最近发生的世界事件和趋势，如右翼民粹主义运动的兴起和对移民的普遍反对，都带来了身份和差异的问题。在韩国馆布展的这两位艺术家，其特点都是钻研全球网络的阴谋以及身份的政治性，每一个都为我们共享的世界提供了一扇不同的窗口，同时思考世界级现象对韩国的影响。”第57届威尼斯双年展名为“VIVA ARTE VIVA”，展览一直到11月26日结束。

Speaking about the exhibition, Lee Daehyung says ‘recent world events and trends, such as the rise of right-wing populist movements and general backlash against immigrants have brought issues of identity and difference to the fore. The two artists that the Korean pavilion is featuring are delving into the machinations of global networks as well as into the politics of identity, each offering a different window into our shared world, whilst reflecting on the influence and repercussions of worldwide phenomena on Korea.’  The 57th international Venice Art Biennale, titled ‘VIVA ARTE VIVA’ is on until the 26th of November.
  



思想者（威尼斯展览中的艺术装置）崔玄周，思想者，1995-96。厕纸，一种美国胃药，木材。装置位于第57届威尼斯双年展的韩国馆中。
The thinker (venice installation view) Cody Choi, the thinker, 1995-96. Toilet paper, pepto-bismol, wood. Installation view at the Korean pavilion, 57th international art exhibition, La Biennale Di Venezia.


崔玄周的传奇与弗洛伊德的垃圾箱（在威尼斯的装置），2017。铜、木、钢。装置位于第57届威尼斯双年展的韩国馆中。
Cody’s legend vs. Freud’s shit box (venice installation view)，2017. Bronze, wood, steel. Installation view at the Korean pavilion, 57th international art exhibition, La Biennale Di Venezia.


适当的时间（想象明天会更好）李莞，适当的时间：虽然梦想与月亮一起旋转，2017。668个可变的钟表。明天会更好的装置位于第57届威尼斯双年展的韩国馆中。
Proper time (pictured with for a better tomorrow) Lee Wan, proper time: though the dreams revolve with the moon, 2017. 668 clocks. dimensions variable. Installation view with for a better tomorrow at the Korean pavilion, 57th international art exhibition, La Biennale Di Venezia.  




明天会更好（细节图）李莞，明天会更好，2016-17。塑料，60x70x70cm。装置位于第57届威尼斯双年展的韩国馆中。
For a better tomorrow (detail frame shot) Lee Wan, for a better tomorrow, 2016-17. Plastic. 60x70x70cm. Installation view at the Korean pavilion, 57th international art exhibition, La Biennale Di Venezia.


制造（物体装置）李莞，制造，2013—至今。12部纪录片和12件物品。
Made in (objects installation) Lee Wan, made in, 2013-present. 12 documentaries and 12 objects.


Cheesekhwa （彩绘）——红，崔玄周，Cheesekhwa（彩绘）——红，2016-17。帆布上的油画。 124.3×161.7 cm。艺术家的礼节。
Cheesekhwa (color painting) – Red Cody Choi, Cheesekhwa (color painting) – Red, 2016-17. Oil on canvas. 124.3×161.7 cm. Courtesy of the artist.


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