墙／ Alex Hartley，2017年英国福克斯顿三年展｜Wall, by Alex Hartley, commissioned by the Creative Foundation for Folkestone Triennial 2017. Photography: Thierry Bal

剧变：艺术家在2017福克斯顿三年展上大放异彩
Sea change: artists make waves at the 2017 Folkestone Triennial

由专筑网丁思源，朱王倩编译

不管这是一件好事亦或坏事，太多土生土长的福克斯顿人，发现他们的家乡变得越来越像一个海边的小伦敦。随着城市居民数量的下降，房价的抬升，空置的房子如同一具具骷髅横躺在岸边。

虽然伴随着肯塔基州的乡绅化，社会对此表示紧张与不安。但随之而来的包括文化，远程授课和基础设施的发展不得不说令人欣慰。同样的，吸引越来越多的国际关注也是一把双刃剑。也就是说，在这第四次福克斯顿三年展中，视野越来越狭隘的艺术世界将接受磨炼。

To many born and in bred in Folkestone, their hometown is becoming more and more like a little London by the sea – for better or worse. As city folk descend, house prices rise, and empty second homes stand skeletal along the shore.
With all the significant tensions that come with the Kentish gentrification, so too arrives relief, in the form of culture, learning programmes, and infrastructural development. The double-edged knife of international attention arrives too. To wit, the ever-narrowing eyes of the art world are currently trained on the fourth edition of the Folkestone Triennial.


立方体2017——用黑白二色染出了形状不一的多边形／加里•伍德利（Gary Woodley），｜Impingement No. 66 ‘Cube Circumscribed by Tetrahedron – Tetrahedron Circumscribed by Cube’ 2017, by Gary Woodley, commissioned by the Creative Foundation for Folkestone Triennial 2017. Photography: Thierry Bal

从雕刻到概念，三年展在为期八周的展览中展示20多件最新的受委托的公共艺术作品。这将为当地带来可观的投资和艺术旅行，更不必提及当地人因为这片日渐令人满意的海边荒地，而疯狂增长的兴奋之情与惊奇之感。

馆长Lewis Biggs从2014年最近一次的三年展开始就为其艺术掌舵。他说当地的反应度和参与度一直在逐渐增长。“现在，每当人们看到奇怪的东西出现在他们的乡村地里，他们就知道，是到了三年展的时候了！”馆长解释说：“然后，整件事情将在大街小巷传遍。我们很高兴看到，这个城镇的艺术作品已经开始自动展现其自身的意义，而无需我们施压去做任何事。”

仿佛接受到了战斗的号令，鲍勃（Bob）和罗伯塔•史密斯（Roberta Smith）的纪念标志矗立在在最高的悬崖壁上，俯瞰着城镇宣示着一句口号：“福克斯顿是一所艺术大学”。它如同英国对于欧洲大陆的脱离声明一般，从一个古老的沿海堡垒中发出，传向海洋。这句小小的标志上的话语成为疯传了整座小镇的标语，同时，对于大量的正在小镇上发生的艺术教育而言，它也的确是一个非正式却又恰如其分的标语。

Comprising an eight week-long showcase of 20 pieces of newly commissioned public art, ranging from the sculptural to the conceptual, the Triennial brings considerable investment and art tourism ¬– not to mention a bubbling mix of local excitement and raised eyebrows – to this newly desirable seaside idle.
Curator Lewis Biggs, who has been at the artistic helm of the Triennial since its last iteration in 2014, says local reaction and engagement is getting better all the time. ‘Now, when people see strange objects appearing in their landscape, they know it’s Triennial time,’ he explains. ‘Then the stories start to unfold – you hear it in the streets. The significance of the town’s artwork begins to be manufactured without us having to do anything. It’s lovely to see that.’
Standing like a call to duty, and overseeing the rest of the town atop the highest cliff face, Bob and Roberta Smith’s monumental sign declares ‘FOLKESTONE IS AN ART SCHOOL’, wrapped around an old coastal fort, and looking out to sea, like a Brexit apology to mainland Europe. It’s a mantra bannered on smaller signs throughout town, and it acts as an unofficial, but apt, tagline for the long list of art-education activities happening in town.


塞壬（Siren），马克•施密茨（Marc Schmitz ）和多尔戈尔（Dolgor Ser-Od），2017年英国福克斯顿三年展｜Siren, Marc Schmitz and Dolgor Ser-Od, commissioned by the Creative Foundation for Folkestone Triennial 2017. Photography: Thierry Bal

向北望去是悬崖峭壁，几乎没有沿海的构筑。这片峭壁衬托了马克•施密茨（Marc Schmitz ）和多尔戈尔（Dolgor Ser-Od）制作的巨大的黄色麦克风。这个麦克风如同海贝一样收集者海浪发出的噪声。更进一步的是Hartley轮廓清晰的白色构筑。组成这个构筑的磨石如同考古现场发掘出的铁器时代的产物。它如同桅杆一样矗立，与沿海的景观形成鲜明对比。悬出悬崖的石块看起来随时都会跌入河道，被海水带向法国。虽然很随意，但这个作品的确是在呼应与今年三年展的主题“双刃”。

Northwards, barely-there coastal trails slip up cliff edges, revealing Marc Schmitz and Dolgor Ser-Od’s giant yellow megaphone, that gathers the noise of the waves like a seashell. Further up, Hartley’s statuesque white structure, filled with Iron Age millstones dug from the next door archeological site, stands mast-like against the coastal vista. Overhanging the cliff, the stones look like they could tumble into the channel at any moment, and wash up in France. The work speaks to the (loosely employed) theme of this year’s triennial: ‘Double Edge’.


大型果冻模具装置／卢贝娜•希米德（Lubaina Himid），2017年英国福克斯顿三年展｜Jelly Mould Pavilion, by Lubaina Himid, commissioned by the Creative Foundation for Folkestone Triennial 2017. Photography: Thierry Bal

这个主题在提醒我们一件事实，那就是我们正处于一个“尖峰”时刻。“福克斯顿一直以来都是一个前哨战，一个边界。”Biggs解释道：“事实上，没有一个国家可以成为一个真正意义的孤岛，对于强调我们和别的国家的关系而言，这里是绝佳的场所。”

It’s a theme that nods to the fact that we are in an ‘edgy’ moment. ‘Folkestone has always been, a frontier, a border,’ Biggs explains. ‘It’s the perfect place to highlight the relationship we have with other countries – and the fact that no one country is an island.’


哥特式教堂装置——永无止境的意境和氛围，本•艾伦（Ben Allen），2017年英国福克斯顿三年展｜The Clearing, by Studio Ben Allen, commissioned by the Creative Foundation for Folkestone Triennial 2017. Photography: Thierry Bal

有一些艺术家较其他人而言更为有自己的坚持。“主体 ，什么主题？” 迈克尔•克雷格-马丁（Michael Craig-Martin）开玩笑说“当一个艺术作品开始追随于某一主题，它就丧失了自己的力量。”他设计的彩色电灯泡缠绕在欧德海路曲折的立面上。这是一条闪闪发光，其乐融融，通往城镇中最具创意的一角的康庄大道。Biggs非常赞同这样的观点，那就是将三年展的标题看做是一个共同讨论的观点，而不是一个需要严格遵从的教条。“当给予自由的时候，艺术家开始展示出他们最好的一面。”

Some artists have adhered more closely than others. ‘Theme? What theme?’ jokes Michael Craig-Martin. ‘As soon as an artwork adheres to a theme, it loses its power.’ His colourful lightbulb mural wraps around a curving façade at the foot of The Old High Street – a glowing, optimistic gateway to the town’s Creative Quarter. Wholly supportive of reaction’s like this, Biggs was keen for the Triennial’s title to act more as a talking point, rather than a strictly followed doctrine. ‘Artists tend to perform the best when they’re given their freedom,’ he says.


度假小屋／理查德-伍兹（Richard Woods），2017年英国福克斯顿三年展｜Holiday Home, by Richard Woods, commissioned by the Creative Foundation for Folkestone Triennial 2017. Photography: Thierry Bal


度假小屋／理查德-伍兹（Richard Woods），2017年英国福克斯顿三年展｜Holiday Home, by Richard Woods, commissioned by the Creative Foundation for Folkestone Triennial 2017. Photography: Thierry Bal


Anacaona房屋／Sol Calero，2017年英国福克斯顿三年展｜Casa Anacaona, by Sol Calero, commissioned by the Creative Foundation for Folkestone Triennial 2017. Photography: Thierry Bal

正如Biggs所期望的一样，每一个艺术家都通过各种创造性的反讽来回应这次的主题。理查德-伍兹（Richard Woods）将主题视为一个出发点。“我的作品的内在动力源于一次前往福克斯顿的旅行，但我认为我的作品所适用的边界远远超出一个单一的地理范围”他解释道。从海滩到微型的立交口，英国的艺术家创造了六个五彩斑斓，充满卡通色彩的“假日住宅”并将他们穿插在城市中各个不和谐的场所中。但一位当地的房屋中介人员给伍兹一份售卖“海边别墅”的传单时，这个概念应运而生。“它促使我思考房地产市场库存的缺失” 伍兹说道：“这些转卖房屋以求变现的人正在经历什么？他们又将去哪里？那些起初便无家可归的人们又过得怎么样？”

As Biggs hoped, each artist has interpreted the theme with creative abandon. Richard Woods sees it as a jumping off point. ‘My work was motivated by a trip to Folkestone, but I think the issues it throws up are much broader than this single location,’ he explains. The British artist has created six colourful, cartoonish ‘Holiday Homes’ dotted in incongruous locations around town – from the beach to a mini-roundabout. The idea sprouted when a local estate agent offered Woods a leaflet selling ‘second homes by the sea’. ‘It made me think about the lack of housing stock,’ Woods says. ‘What happens to the people who sell their homes “for cash”? Where do they go? What about the people who don’t have anywhere to live in the first place?’


葛姆雷式人像雕塑／安东尼·葛姆雷（Antony Gormley），2017年英国福克斯顿三年展｜Another Time XXI 2013 (Loading Bay), by Antony Gormley, commissioned by the Creative Foundation for Folkestone Triennial 2017. Photography: Thierry Bal

展览中每一个作品中都能看出诸如此类对于问题的探索。从安东尼•戈姆雷（Antony Gormely）（英国著名雕塑家）的雕塑（像一位迷失的水手从一个废弃的船只装获区看向大海）到Sol Calero的充满活力的滨海“社会空间”，许多作品都是为了鼓励跨文化的体验而建造的。

Probing questions like this can be read in each of the works on show. From Antony Gormley’s statue, which looks out to sea from a disused ship’s loading bay like a lost sailor; to Sol Calero’s vibrant beachfront ‘social space’, built to encourage cross-cultural experiences.


福克斯顿是一所艺术学校／鲍勃和罗伯塔•史密斯”（Bob and Roberta Smith）｜FOLKESTONE IS AN ART SCHOOL, by Bob and Roberta Smith, commissioned by the Creative Foundation for Folkestone Triennial 2017. Photography: Thierry Bal

当你越近距离接触这些作品，你将会他们周围看到越来越多的瑕疵。鲍勃（Bob）和罗伯塔•史密斯（Roberta Smith）的旗帜下的堡垒正在坍塌。Wong Hoy Cheong设计的闪闪发光的尖塔伊斯兰中心则是一个品相不佳的，前工业化时代的建筑。这些困难和负担并没有为作品降分，正相反他们为之增色不少。关于这座城镇的故事仍然在书写，其未来也并非无忧无虑。每过三年，越来越多的艺术作品都会涌向福克斯顿，指导着它未来的方向。

The closer you get to the works, the more cracks you see around them. The fort under Bob and Roberta Smith’s banner is crumbling. The Islamic centre under Wong Hoy Cheong’s glowing minaret installation is a tired-looking, ex-industrial building. Instead of detracting from the glamour or gravitas of the works, they add poignancy. The story of this town is still being written, and it’s future far from secure. Every three years, Folkestone is filled with more and more acts of art, steering it onwards.


灯形装置——上面雕有很多棱角分明的装饰／大卫•史瑞格里（David Shrigley），2017年英国福克斯顿三年展｜Lamp Post (as remembered), by David Shrigley, commissioned by the Creative Foundation for Folkestone Triennial 2017. Photography: Thierry Bal


Folke石头发电厂／Nomeda and Gediminas Urbonas，2017年英国福克斯顿三年展｜Folke Stone Power Plant, by Nomeda and Gediminas Urbonas, commissioned by the Creative Foundation for Folkestone Triennial 2017. Photography: Thierry Bal


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