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不能“瞠目结舌”,又怎能“振聋发聩”呢?第1张图片


里斯本“Over Flow”展览
Tadashi Kawamata fills Lisbon's MAAT with plastic to warn about ocean debris

由专筑网王帅,李韧编译

巴黎艺术家Tadashi Kawamata在里斯本艺术建筑与科技博物馆的椭圆画廊(Oval Gallery)内布置了一片巨大的海洋塑料装置。

该展览名为“Over Flow”,展览受葡萄牙博物馆委托,提示人们注意塑料碎片对于海洋的影响。

Paris-based artist Tadashi Kawamata has created a monumental installation of ocean plastic in the Oval Gallery of Lisbon's Museum of Art, Architecture and Technology.
The exhibition, called Over Flow, was commissioned by the Portugese museum to draw attention to the proliferation of plastic debris in our oceans.

不能“瞠目结舌”,又怎能“振聋发聩”呢?第2张图片


这一大规模的展览由废旧塑料和船只组成,这些材料来源于葡萄牙的海岸线,由义工清洁组织Brigada do Mar收集。

Brigada do Mar组织成立于2009年,旨在清理沿海地区的垃圾,并保护生物多样性。根据他们的说法,他们是一个由50名志愿团队和一些其他志愿人员组成的常设小组,每年可以清理28英里长的海滩,清除20至30吨塑料垃圾。

The large-scale commission is made up of plastic waste as well as boats, collected on the country's coastline by the volunteer clean-up group, Brigada do Mar.
The group started out in 2009 with the objective of cleaning up coastal areas and protecting biodiversity. According to Brigada do Mar, every year they are able to clean up 28 miles of beach, removing between 20 and 30 tons of plastic litter, with a permanent team of 50 volunteers and many other volunteer members.

不能“瞠目结舌”,又怎能“振聋发聩”呢?第3张图片


Kawamata将收集到的海洋塑料以雕塑的形式填满了画廊空间,构成了一幅环境灾难的画面,游客可以在塑料废料之中走动。

该博物馆解释说:“‘Over Flow’展是一种真正的沉浸式装置,它让观众体验一场虚构的生态灾难之后的海景。”

The collected debris fills the gallery space in a sculptural form arranged by Kawamata to resemble an imagined version of the aftermath of an environmental disaster. Visitors are able to walk about under a canopy of plastic waste.
"Over Flow is a truly immersive installation, inviting viewers to experience a seascape of remains which follows a fictional ecological catastrophe," said the museum.

不能“瞠目结舌”,又怎能“振聋发聩”呢?第4张图片


Kawamata在创作该作品的过程中,结合了2011年日本东北大地震和海啸的记忆,同时也呼应了该博物馆的沿海位置。

Kawamata在葡萄牙耗费一年对这次展览进行了研究,最终形成了艺术和建筑团体Os Espacialistas领导的讲习班,并在此期间,完成了展览的设计。

In creating this piece, Kawamata was responding to his memory of the Tohoku earthquake and tsunami in Japan in 2011, but also echoing the Museum of Art, Architecture and Technology's (MAAT) location near the coast.
The piece was put together over the course of a year of research and field work in Portugal, which culminated in a workshop involving the local community, led by art and architectural collective Os Espacialistas, during which the design of the exhibition was finalised.

不能“瞠目结舌”,又怎能“振聋发聩”呢?第5张图片


该展览由里斯本艺术建筑与科技博物馆主管Pedro Gadanho和馆长Marta Jecu策划,该作品是椭圆画廊的第六次特定委托地点,它借鉴了艺术家作品中现有的主题。

Gadanho说:“Kawamata经常构思过度消费的主题。这是他第一次使用海洋塑料,从逻辑上讲,这与该沿海地区的海洋垃圾有关。”

在Jecu馆长的策展书里,她质疑游客在灾难现场的角色,就像展览所代表的那样。

Jecu说:“作为Kawamata展览的一名观众,我们重新制定了游客的位置,来探索被摧毁的遗址奇观,这类似于福岛附近的非法旅游模式。”

她继续说:“这是一种重要的要求,不仅仅是沉思。一件艺术作品如何在灾难中激发潜在的再生潜能?”

The exhibition is curated by MAAT director Pedro Gadanho and curator Marta Jecu. The work is the sixth site-specific commission for the Oval Gallery, and draws on existing themes in the artist's body of work.
"Kawamata has often worked with themes of overconsumption and excess, and working for the first time with plastic debris logically related to the accounts of maritime trash arriving in the region's coastal areas," said Gadanho.
In her curatorial text about the exhibition, Jecu questions the role of the visitor at a disaster site like the one the exhibition represents.
"As a viewer of Kawamata's installation, we re-enact a position of disaster tourist, coming to explore the spectacularity of destroyed sites – similar to the subculture of illegal tourism around the Fukushima site," said Jecu.
"It is important to ask, beyond mere contemplation, how can a work of art activate a regenerative potential latent in the disaster depicted," she continued.

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这件作品旨在向观众展示目前的人类活动对自然环境带来的毁灭性影响,鼓励人们采取行动。

Gadanho说:“我们必须控制人们对自然的影响,同时意识到人们曾经对这个话题的漠不关心和质疑,‘Over Flow’展览是生态意识的核心和触觉。”

The work is intended to demonstrate to the viewer the devastating effect that our current human activity has on the natural environment, and to encourage them to act.
"At a time when we must get a grip on our impact over nature's stability – and overcome indifference and incredulity at this topic – Over Flow makes ecological consciousness visceral and palpable," said Gadanho.

不能“瞠目结舌”,又怎能“振聋发聩”呢?第7张图片


这场位于里斯本艺术建筑与科技博物馆椭圆画廊的展览将持续到2019年4月1号。其他同时举办的展览还有Michael Elmgreen与Ingar Dragset策划的一部名为“阴影中的场景”的作品,它着眼于都市主义、社区、仪式和精神药理学。

九月份,第一次大规模清理行动由Great Pacific Garbage Patch组织在旧金山发起,目标同样是清除海洋塑料垃圾。

The exhibition runs until 1 April 2019 at the MAAT's Oval Gallery. Other exhibitions running simultaneously include a work curated by Michael Elmgreen and Ingar Dragset called Scenario in the Shade, that looks at urbanism, community, ritual and psychopharmacology.
Last month the first large-scale clean-up operation of the Great Pacific Garbage Patch launched from San Francisco, in a bid to remove some of the 1.8 trillion pieces of plastic that the patch contains.

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不能“瞠目结舌”,又怎能“振聋发聩”呢?第10张图片


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