Leandro Erlich: The Confines of the Great Void

  • Dates:2019-07-11 - 2019-08-25
  • Location:CAFA Art Museum
  • Opening:2019-07-10 16:00
  • Organizer(s): CAFA Art Museum
  • Sponsors: Tianyu Culture Group Galleria Continua
  • Chief Consultant: Fan Di'an
  • Art Director: Su Xinping
  • Curator: Andrés Duprat Zhang Zikang
  • Academic Consultant: Wang Chunchen
  • Executive Curator: Gao Gao Yi Yue
  • Assistant Curator: Li Zhiyuan

Preface

I like to introduce myself as a conceptual artist working in the realm of the real and perception. My subject matter is reality, symbols and the potential for meaning. I am committed to creating a body of work--especially in the public sphere--that opens itself to the imagination, subverts normality, rethinks representation and proposes actions that construct and deconstruct situations in order to disrupt reality. Speaking generally, my work functions as a narrative experience deployed in the public arena. I build visual stories from daily life that evoke an ordinary set of circumstances, both rooted in reality and shared experience, but that don't function as expected. I like to develop projects that push the conceptual threshold of the audience, and I enjoy working with a variety of media and modes of expression. My work encompasses installations, objects, sculptures, videos and even painting. I create structures that trigger images and ideas that, in turn, point towards new realities. I like to consider these pieces as relational devices that inspire interaction and play amongst the viewers. I understand art as a medium for cultivating new approaches to understanding the world--physical, mental, political, symbolic.   

- Leandro Erlich

I like to introduce myself as a conceptual artist working in the realm of the real and perception. My subject matter is reality, symbols and the potential for meaning. I am committed to creating a body of work--especially in the public sphere--that opens itself to the imagination, subverts normality, rethinks representation and proposes actions that construct and deconstruct situations in order to disrupt reality. Speaking generally, my work functions as a narrative experience deployed in the public arena. I build visual stories from daily life that evoke an ordinary set of circumstances, both rooted in reality and shared experience, but that don't function as expected. I like to develop projects that push the conceptual threshold of the audience, and I enjoy working with a variety of media and modes of expression. My work encompasses installations, objects, sculptures, videos and even painting. I create structures that trigger images and ideas that, in turn, point towards new realities. I like to consider these pieces as relational devices that inspire interaction and play amongst the viewers. I understand art as a medium for cultivating new approaches to understanding the world--physical, mental, political, symbolic.   

- Leandro Erlich

Artworks

Artworks

Photographs

Photographs

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Leandro Erlich, photo courtesy Guyot Leandro Erlich was born in Argentina in 1973. He lives and works in Buenos Aires and Montevideo. Over the past two decades, his work has been shown internationally and featured in the permanent collections of major museums and private collectors. He enjoys particular renown in Asia, and his most recent exhibitions at the MORI Art Museum (Tokyo, 2017) and the HOW Art Museum (Shanghai, 2018) have attracted hundreds of thousands of visitors. On June 26th, his new show Próximamente opens at the Ruth Benzacar Gallery in Buenos Aires, followed by LIMINAL, a major anthological exhibition at MALBA (Buenos Aires) on July 4th (2019). On July 10th, 2019, he will become the first non-Chinese artist to occupy the entire exhibition space at the CAFAM (Central Academy of Fine Arts, Beijing), China’s premiere museum, with the show The Confines of The Great Void. Erlich began his professional career at 18 with a solo exhibition at the Centro Cultural Recoleta in Buenos Aires and, after receiving several fellowships (El Fondo Nacional de las Artes, Fundación Antorchas), went on to study at the Core Program, an artist residency in Houston, Texas (Glassell School of Art, 1998); there, he developed his signature installations Swimming Pool and Living Room. In the year 2000, he participated in the Whitney Biennale with the work Rain, and in 2001 he became Argentina’s representative at the 49th Venice Biennale with Swimming Pool, a landmark piece that is part of the permanent collection at The 21st Century Museum of Art of Kanazawa (Japan) and the Voorlinden Museum (Netherlands).Leandro Erlich, Rain (1999), Whitney Museum of American Art, Whitney Biennale (2000)Steel frame, wood wall board, sliding glass window and casing, faux brick interior, water circulation system, sound and strobe light installationDimensions variable© Martin Sichetti, courtesy Leandro Erlich StudioHis public works include La Democracia del Símbolo, a joint intervention in the Obelisco monument and MALBA Museum that captivated the city of Buenos Aires in 2015; Maison Fond marked the UN Climate Change Conference in Paris and is on permanent display at the Gare du Nord (Nuit Blanche, 2015);thecelebrated installation Bâtiment (Nuit Blanche, Paris, 2004) has been reproduced in countries across the globe (France, The UK, Australia, Japan, Argentina, Ukraine, Austria); in 2018, Ball Game was commissioned by the IOC to commemorate the Summer Youth Olympics in Buenos Aires. Port of Reflections has been exhibited at the MMCA (Seoul, Korea, 2014), at MUNTREF (Buenos Aires, 2016) and at the Neuberger Museum of Art (New York, 2017). Palimpsest is on permanent display at the Echigo-Tsumari Art Triennale (Kinare, Japan, 2018). Leandro Erlich, Lost Garden (2009), Museum of Latin American Art, Long Beach, California (2010)Metal frame, brick, window, mirror, light and artificial plantsDimensions variable© Jon Endow, courtesy Leandro Erlich StudioLeandro Erlich, Lost Garden (2009), Galería Nogueras-Blanchard, Madrid (2013)Metal frame, brick, window, mirror, light and artificial plantsDimensions variableCourtesy Galería Nogueras-BlanchardErlich has received numerous awards, including: The Roy Neuberger Exhibition Award (NY, 2017), the Nomination for the Prix Marcel Duchamp (Paris, 2006), the UNESCO Award (Istanbul, 2001), El Premio Leonardo (Museo Nacional de Bellas Artes, Buenos Aires, 2000),el Fondo Nacional de las Artes (Buenos Aires, 1992).As a conceptual artist, his work explores the perceptual bases of reality and our capacity to interrogate these same foundations through a visual framework. The architecture of the everyday is a recurring theme in Erlich’s art, aimed at creating a dialogue between what we believe and what we see, just as he seeks to close the distance between the museum or gallery space and daily experience. More information: His work has been shown in numerous individual exhibits which include: El Museo del Barrio, New York (2001); MACRO Museum of Contemporary Art of Rome (2006); Centre D’art Saint Nazaire, France (2005); PS1 MoMA, NY (2008); Galleria Continua, San Gimignano, Italy (2008); Galería Luciana Brito, Sao Paulo (2009); MOLAA, Long Beach (2010); Sean Kelly Gallery, NY (2011); Galería Ruth Benzacar, Buenos Aires (2007, 2012, 2019); Galería NoguerasBlanchard (2013); Barbican Center, London (2013); 21st Century Museum of Contemporary Art, Kanazawa, Japan (2014); MMCA, Seoul, Korea (2014); MALBA, Buenos Aires (2015); ZKM, Germany (2015); Fundación Telefónica, Madrid, Spain (2017); Neuberger Museum of Art, New York (2017); MORI Art Museum, Tokyo(2017/2018); HOW Art Museum, Shanghai(2018); MALBA, Buenos Aires, Argentina (2019); CAFAM, Beijing, China (2019). Group showsinclude: la Nuit Blanche de Paris (2004); Palais de Tokyo, Paris (2006); MuseoNacional Centro de Arte Reina Sofía, España (2008); Fundación PROA, Buenos Aires (2009, 2013); Galleria Continua in Les Moulins (2011); Centre Georges Pompidou, Paris (2011); Centquatre, Paris (2011); MOT, Tokyo (2013); Shanghai Art Festival (2013); Spiral Garden, Tokyo (2017); Maison de l’Amérique Latine, Paris (2018); Power Station of Art, Shanghai (2018), etc.He has participated extensively in biennales, among others: the 1st Bienal Mercosur (1997); the 7th Havana Biennale (2000); the 7th Istanbul Biennale (2001); the 3rd Shanghai Biennale (2002); the 1st Busan Biennale, Korea (2002); the 26th Sao Paulo Biennial (2004); the Venice Biennale (2001/2005); the Echigo-Tsumari Art Triennial, Japan (2006/2018); Palais de Tokyo, Paris (2006); Liverpool Biennial (2008); Singapore Biennial (2008); 2ndBienal de Montevideo, Uruguay (2014); XIII Bienal de Cuenca (2016); Bienal Sur, Buenos Aires (2017).His work is featured in many private and public collections, including: The Museum of Modern Art, Buenos Aires; The Museum of Fine Arts, Houston; Tate Modern, London; Musée National d’ArtModerne, Centre Georges Pompidou, Paris; 21st Century Museum of Art Kanazawa, Japan; MACRO, Rome; The Jerusalem Museum; FNAC, France; Ville de Paris et SCNF, Gare du Nord, France; etc. More

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Zhang Zikang: Leandro Erlich - --Begin from Amazementing, the Game of Seeing and Believinge ...

2019-07-19

Zhang Zikang, Director of the Art Museum of the Central Academy of Fine ArtsCAFA Art MuseumThe Art Museum of Central Academy of Fine Arts(CAFAM) held a solo exhibition for the well-respected artist Leandro Erlich. The exhibition, titled ‘Leandro Erlich: The Confines of the Great Void’, is, which is the mostanother important onesolo exhibition of the artist’s after the onehis solo exhibition in Karlsruhe Art and Media CenterZKM in, 2015in Germany, and anotherthe one in MoriArt Museum, 2017 in Tokyo Japan. in 2017.Prior to this, Leandro’s artworks has attracted massive attention of manytheaudiences all over the world. Through the fermentation of the Internet and social media, his work has reached a wider audience, inspired them to produce numerous photos and interactions on social media. In some sense, the concept of Leandro’s artwork ishas been betterfinished by the participation of the audience. His work also makes people realize that the form of art is being changed by both the audience and the artists, in such a deep interaction with the public. I think this is where the unique charm of Leandro’s art work lies. Through his art work, we get the chance to think about contemporary art and its exhibitions, and about how to form a new viewing relationship with the audience under the catalysis of the new media culture. Losst, vagueness, perceptual confusion---these are the feelings that Leandro’s artworks often brings to the audience. As Leandro said, there is a wide experimental field between seeing and believing. With the spatialpsychologicalsubversion of the ordinary space, such as spatial displacement and architectural illusion, Leandro explores the misplaced problem of the existence ofthe fuzzy boundary betweenexistential reality and consciousness, creates a situation in which the reality and the illusory overlap, and triggers the audience to rethinkthe perception andits diversity.  In order to best express the concepts he wants to elaborate, media and visual forms such as installations, ready-made products, sculptures, videos and even paintings have been adopted by Leandro, and he has successfully created many cultural landscapes that challenge our perception ofperceptual inertia. In Chinese proverbs, thereThere is a sayingin Chinese called “Seeing is believinge”, but Leandro’s artworks makes us feel that “seeing might not be believing”, because this visual artist who was born on the South American continent has made usnaturallymade us wonder ifthink thatthe South American’s magical realistm cultural genes have deeply influenced him. His works have provided a possibility that what we see might not be real.In Leandro’s work, there are many places without clear boundaries--- a Pool that seems to descend from the skyappear out of nowhere, a house that is Pulled up by the RootsUprootedfrom the ground, a closed DoorThe Doors with light leaking from the crackbeneath,a few boats that float on the water that looks like mirror etc. These daily scenes evoke the viewer’s’ sense of reality, like an entrance to “heterotopia”. It echoes tois similar towhat Lao TzuLaozi said, “There is something concrete in the emptiness and there is something real in the ambiguity.”, across two distant cultural time and space. The combination of reality and representation brings illusion to the audience, confusing the direct perception of the human eyes, bringing the audience into the imaginary world which is full of mirroring images.Wherever Leandro Ehrlich’s work goes, there will always be a carnival that embraces visual art. His humor is sharp, and the surprise is just a prelude.In the process of slowly unfoldingAs the storyslowly unfolds, the many pendulumshints he has buriedleft for us are worthy of ourcareful subtle taste.pondering.Written by Co-curator: Zhang Zikang, Director of the Art Museum of the Central Academy of Fine ArtsCAFA Art MuseumTranslated by Liu YanchaoProofread by Lu YufanEdited by Zheng Lijun More

The Adventure of Leandro Erlich ...

2019-07-19

Fram Kitakawa, founder of Echigo-Tsumari Art Triennale and Setouchi Triennale Leandro Erlich is an artist that aims to jump out of the generic space of galleries and art museums. He tries to break through the space embodied by the 20th-century urban high-rise architectural complex. It is a bold challenge, from which we can comprehend his role in the contemporary era, and the reason behind his popularity.Some people hang themselves upside down on the wall; some cling to the wall; some hang on the wall with one hand; some completely free up their hands. It is in fact an illusion reflected on a glass board set in a 45-degree elevation angle. People are only lying down on the facade placed on the floor. —BuildingThe reflecting mirror placed in front of the real corridor creates an effect that the corridor is endless. — The CorridorThe clouds in the shape of France, Britain and Japanese Archipelago is the aggregation of irregular patterns formed by multi-layered glasses. - The CloudThe elevator is tightly packed, yet meanwhile there’s a strange man standing in it. — Elevator PitchIn the classroom next door, phantom-like people are looking at this side smiling. — The ClassroomI look through the window at the window of the house across the garden, only to see people standing in front of the window looking at a different direction, just like myself. — Lost GardenThe rolling coin operated laundry machine is only an illusionary image. — LaundryEvery room in the opposite building is changing slowly. — The Room (Surveillance II)When I believe I am looking down at the apartment buildings from high above, I am actually only standing on the floor. — La veredaThe wall of an old architecture is floating in the air. — Window & LadderA few boats are floating on the water surface without water, showing the ripples. — Port of ReflectionsAll walks of life can be seen walking under water from above the pool. — Swimming PoolThe changing rooms, originally single rooms, are connected by multiple rooms. The inside can be seen very clearly. — Changing RoomsLight is leaking from beneath the rooms, but as you enter them you will find that they are only walls. — The DoorsOn a sunny day, you look outside the window only to discover violent storms. — RainIn a hair salon, the mirror in front of my reflects a person behind me who shouldn’t exist. — Hair SalonWalking outside, you’ll see a house hanged up in the air. — Pulled by the RootsGeneric space is a predominant idea of the 20th century, or the modern time.  Mies van der Rohe believes that the capital and labor are congregated in the urban area, which leads to a metropolis full of high-rise buildings and composed of steel and glass walls. In fact, cities that develop around high-rise building complex are appearing all over the world, in China, Europe, America and Africa. This kind of space is detached from the multiplex characteristics of life and historical experience, and becomes a void space like laboratory. By changing the dividing wall of a room, a building can be easily transformed into a residency, office or restaurant. There is no more convenient building than the ones with well-adjusted indoor air. People in such space is counted and manipulated as a quantifiable figure.The space has lost the history and culture peculiar to the land, while people are defined by demographic statistics -  this is exactly the viewpoint that shroud the whole world impacted by the global market economy. Art is also developing under the same background. The ‘white box’ exhibition space encircled by white high walls is the space incised from the surrounding, having the same appearance in all countries and regions. This is called spatial balance. In such space, works can purely show their core concept, like in a science laboratory. In here we can clearly understand the jumping thoughts of the artists.However, here lies a big question.Does the ideal abstract space really exist?The problem we are truly facing is the constant deterioration of global environment, the increasing wealth gap one-sidedly created by the market economy controlled by transnational capitalists, and the capitalist moral degeneration resulted from it, leading to the loss of individual sensibility, mechanization and the disappearance of local culture. Since ancient times, artists have been gradually disclosing the relationship between human and nature, and civilization in the midst of the crisis of civilization and at the dawn of new eras. During this process, they use a technique mastered by human.The cave paintings in Altamira and Lascaux are on the one side pray for human’s toil in risking their life capturing middle-sized beasts, and on the other side pray for the pain the captured animals suffered. They embody the united relationship between human and nature. In any subsequent era, art has been the reflection of the relations between nature, society and human. In the vast universe formed accidentally, for the human race born at one moment of the universe, art is the only index of our self-cognition. Without that index human race won’t exist. Like language and literature, art is an index with universal meaning (a very good example is the paintings by the aboriginals). Leandro Erlich tries to break the boundaries by making use of the difference between materials such as glass boards, glass and water, and create boundaries in intangible generic space by using high-quality materials produced in modern industry. This is his creative practice.Everyone is at the terminal point of global information, drowned in all kinds of information, signs and rumors, while believing that we can freely choose and collect certain information. However, they are only the information manipulated within the limit permitted by power, capital and the Internet.These information is fixed in a specific image, and leads to a time that art stops progressing. It seems that we can freely choose from endless information, but the composition and thought pattern are becoming stereotyped.At this time, Leandro Erlich emerged.Either a work is put in Beijing, Johannesburg or London, people can appreciate and understand it in the same way. This is the exhibition standard of 20th century art in white boxes such as galleries and art museums, as well as the 20th century philosophy. Such generic space shares the same character with market economy, international finance and the Internet, and is the most influential (best) idea of the 20th century. It is fair to say that art develops based on generic space.— To judge a thing with the same viewpoint no matter where. —So, in order to transcend the generic space, how does Leandro consider it? Let us take a look at the meaning of Chinese characters, an ancient pictograph.移す (utsusu) →To copy, transcribe, keep and record.映す (utsusu) →To reflect an item’s original look as the light illuminate other items.映す (utsusu) →To duplicate, reprint and copy the original.The three words, with the same etymological origin, changed gradually and form the modern usage of “utsusu” (They share the same Japanese katakana and pronunciation).The different kinds of works by Leandro Erlich, to speak about them in Japanese or write about them in Chinese characters, are to show the context of “utsusu” in a brief and one-time-only place.He seals the space’s time here, like the time sealed in a movie. In his perspective, generic space has become an exceptionally indifferent space without accumulation of time. Thus, his method is to break through his own generic space by transferring a generic space.Modern space is only a thing without the concept of time. Leandro Erlich raised here a theory to generate space by transferring, duplicating and moving the subject. The object changes according to the human (subjects)’s behaviors. This is also the relationship between man and nature since ancient times. In Chinese characters there are homonyms that show turning points. I try to explore this relationship with the different meanings contained in these words. This is what Ernst Mach talked about “”, and the world described in synoptic gospels since ancient time. To simply put it, it is because I have sympathy for the word “stand”, that my reflection in the mirror is standing.I want to talk about the certainty in Leandro Erlich’s creative practice. As he is having his exhibition in Beijing, I would like to elaborate with the “Six Principles of Chinese Painting”, written by Chinese painter and critic Xie He, who lived in the fifth and sixth century, in the preface to his book The Record of the Classification of Old Painters. This is a time that Buddhism was introduced to China from India, as well as a time that ‘art’ itself is questioned as for how it can understand and reflect the nature and society human feel about. At least in Japan, the final destination of Asian culture, ‘Six Principles of Chinese Painting’ is regarded as an important art theory.The basic elements of painting it raised have also been applied outstandingly in modern art.Correspondence to the Object: the modeling abilitySuitability to Type: color perceptionDivision and Planning: space compositionThese elements are what Leandro Erlich, who was born in an architects’ family, best at, and the reasons why his works are vivid and easy to understand.Transmission by Copying: mastering of the classic, or the forefathers’ achievementSuch learning pattern could ensure the modernity of his works. In other words, it offers the audience a new spatial experience. From here we can see Leandro Erlich’s knowledgeability.Bone Method: the unique technique and feeling of the artistBased on the above-mentioned, as I talked about Leandro Erlich’s personal art concept earlier, he is creating a void in homogeneous space by “transferring, copying and reflecting”, and thus creating a new and rich space. The aforementioned five principles can be obtained with practice, except for the last one which is Spirit Resonance.This is the conversation between the work and the audience. In other words, it  points to the realization of a new spatial experience. What Xie He believes is that the overall energy of a work of art may impact the audience. It is full of vitality as if it has the power to shake mountains and rivers. And to judge if a work has that energy, we should see if it has the overall vitality. It seems that Leandro Erlich has such works with spirit resonance.In Buenos Aires, Leandro Erlich’s hometown, there’s a public work named The Democracy of the Symbol. The work covered the top of the city’s iconic monument, and showcased the duplicate of the top in front of the museum. The work seems to be “hidden” before “transferred”, but it is actually made separately after the original was hidden. Although I haven’t been to Buenos Aires, but I heard that it’s a popular place for dating lovebirds and protesting people. Society, politics and power co-exist in this place. Since ancient Greece, squares have been a place for people to voice themselves, sometimes they could also be place of suppression. What does the embodiment mean here? Leandro Erlich lives in South America, but his thought penetrates the whole modern time. It reminds people of Christo’s  artwork ‘Wrapped Reichstag’, or Eisenstein’s movie Battleship Potemkin. Homogeneous city also rises with the support of power. For modern people, can the art museums completely be a place of freedom? This remains to be questioned.Moreover, in Japanese countryside Echigo-Tsumari, in an exchange museum designed by Hiroshi Hara that reminds people of oasis in a desert, Leandro Erlich created a building similar to the structure of urban architecture in the wading pool, as if he was criticizing the modern civilization by “transferring, duplicating and reflecting” the constantly extending modern generic space. People can see the building reflected on the water from the balcony, and can also go into the pool to have fun. He started to move his creative place to squares and countryside, one step closer to the nature which is suffering from destructions.20th century is filled with symbolized information, programmed human and stereotyped space, while Leandro Erlich initiated a bold adventure, trying to break through the leading generic space with the power of art. He’s like Don Quixote who longs to time travel to the Middle Ages, or a modern-time warrior. Leandro Erlich was born in the middle of South America of the old time. Just like Garcia Marquez trying to create a world that overthrows European and North American values with literature, he tries to create a world with his artworks - from the white cubic of galleries and museums to squares that stand for civil society, his footsteps extend to the gradually degenerating, formalizing cities. Let us keep an eye on his adventures.Written by Fram Kitakawa, founder of Echigo-Tsumari Art Triennale and Setouchi Triennale Translated by Liu YanchaoProofread by Lu YufanEdited by Zheng Lijun More

日常生活中的奇观场景 ...

2019-08-18

严密的学科分类法面对日益抽象的社会问题似乎越来越束手无策。一系列新问题的解决有赖于研究者们走出各自为营的学术堡垒,消除文化上的劳动分工,以跨学科作为手段进行知识生产工作。与此同时,当代艺术的边界日趋模糊,来自不同领域、地域、数量飞速增长的参与者在艺术世界来去自由,促使艺术批评投入全新的智力讨论。此次“跨学科写作计划”将艺术家雷安德罗·埃利希在中央美术学院美术馆的个展“太虚之境”作为首次写作对象,邀请到来自学院内外的研究者、工作者,从艺术家的创作实践出发,以各自的学科研究视角开展讨论,以期跨越艺术批评的范畴,进⼀步延展至⼈文与社会科学的相关领域,为观者拓宽观察艺术的不同视角,尝试以交叉学科的方法,介入对当代艺术问题的讨论之中。“这是巴纳姆与贝利的马戏世界,一切都假得透顶,但如果你相信我,假将成真。”——《It’s only a paper moon》雷安的自述中提到最多的两个关键词是“日常”和“现实”。他长于在展览现场对日常生活中的场景进行再造和空间重构,攫取我们已经习以为常、视而不见的生活片段,如电梯、楼道和窗口,使用镜像、投影等技巧将我们与之相处的惯常模式打破,模糊现实与幻象的界限,将日常场景陌生化,从而使观众获得基于日常生活背景的超日常体验。雷安的作品在国内和国外展出的气质是不同的,与国外截然不同的是国内观众的巨大体量。雷安的作品以十分友善的态度期待观众的感受和回应,但当观众的数量达到一定程度时,就不仅仅是个体与作品发生关系,而是观众作为群体与作品发生关系。   雷安德罗·埃利希,《建筑》,2019,中央美术学院美术馆展览现场观众与观众之间亦存在“场”,雷安也十分注重营造一种浸没式的观展体验。比如最受关注的大型作品《建筑》,在水平面设置垂直面的街景场景,利用镜像对空间的重构,使观众产生失重感与超日常的生活体验。观众通过镜子能够观测到自己参与营造的超日常场景,使幻象在沉浸感的作用下更为真实;共同沉浸在这一作品内部的观众形成了一个剧班(戈夫曼, 1989, p. 77),整个作品则是观众表演的舞台,观众以雷安的作品为舞台进行即兴演绎,相信这也是雷安本人期望的展览效果,观众的即兴发挥为作品带来无数可能性。在演绎这一作品的过程中,一些观众进入了与场景相对应的角色,通过镜像躺在作品上以实现坐在窗边或即将掉落的夸张视觉效果。   雷安德罗·埃利希,《建筑》,2019,中央美术学院美术馆展览现场观众与作品形成的有效互动是作者能够预期的展览效果,同时也会有不协调角色(戈夫曼, 1989, p. 136)的存在,这些不和谐的剧班成员行为为作品增添了新的张力:比如一些观众并未像其他人一样领会作者的作品精神,亦不配合其他沉浸其中的剧班成员的演绎,一些人站立在作品的水平面上,可以说这种剧班越轨行为打破了剧班成员内部共同的合作,抖落了剧班成员为舞台精心维系的帷幕。在艺术语境下,剧班成员精心维持的情境定义即使被破坏也是被允许的,这是艺术场得以成立和维持的前提;在观众剧班的精心合作与情境破裂的循环往复过程中,雷安的作品由观众赋予了一种流动性,在真实与幻象的两极来来回回,如同他在展览现场的自述中提到的:在视觉艺术中,时间不属于作品,而是属于观者。   雷安德罗·埃利希,《教室》,2019,中央美术学院美术馆展览现场另一值得关注的观众行为是拍摄。观众的剧班共享的价值认同是在维持情境的前提下进行拍摄。雷安的作品擅用镜面制造幻象,某种程度上也为观众进行拍照行为提供了便利。在《楼梯》的作品现场,几乎所有观众都能够领会雷安将楼梯具有纵深感的天井置于水平面的巧思(艺术家甚至为此录制了一段拍摄指南,亲自为观者演示正确的拍照姿势),因而纷纷面对镜头作摇摇欲坠手抓栏杆状合影留念。但由于现场观众人数众多,进入天井楼梯拍照与被拍照的观众群体形成多个互相干扰的小剧班,在几个不同的小剧班内部共同维持楼梯天井这一情境定义,但是却可能会破坏其他剧班的情境定义,入镜而使其他剧班穿帮,天井的几层楼梯成为层层嵌套的剧班:最内侧的剧班维持着完美的情境;越外层的剧班则多嵌套了内侧剧班的后台场景,同时包括了拍摄者和被拍摄者,成为自我揭示的穿帮镜头;站在最外侧则可以统览几层不同的剧班在进行着位置不同目的相同的情境维持,这一层层嵌套的剧班结构构成了整个作品的情境互动,为这一作品带来了前所未有的张力,完成了观众互动对作品本身的形塑。没有观众,错觉和幻象就无法成立。   雷安德罗·埃利希,《楼梯》,2019,中央美术学院美术馆展览现场雷安的展览成为观众“打卡”的热门景点,与其作品同观众建立密切的良性互动不无关系,一些作品构思和设计的初衷就是要通过空间的重构与观众发生关系,这种互动性鼓励了观众的拍照热情,从而使展览现场成为一个值得留念的奇观场景。又由于雷安的作品往往是基于日常生活场景的修改和重组,观众仿佛置身于惯常的生活中,却有不同,基于日常而超越日常往往比不着边际的构想更具有奇观场景的戏剧性特征。若要在世栖居,则要不断筑居(基思·特斯特, 2010, p. 100)。日常生活是既已筑成的居所,观众在流变的图像和可能性中逐渐丧失对日常生活的体察,换言之,日常生活对观众来说没有体察的必要。雷安的作品使观众重拾对日常的关注,他不动声色地引导观众重新审视早已视而不见的日常生活,将其推倒重来,甚至将地基连根拔起:“日常生活中的场景最适合用来质疑真实性”。面对变幻莫测的城市生活,保持不动声色和习以为常的惯性的观众在展览这一艺术场域中重新发现了日常生活。   雷安德罗·埃利希,《房间》,2019,中央美术学院美术馆展览现场社会科学的常人方法学(Garfinkel, 1967)的一个理论面向是个体面对着既成的世界,在给定的现象之上生活;而雷安德罗·埃利希的作品则旨在利用观众对常识和惯习的认知,通过一些手段和技巧模糊现实与幻觉的界限。基于日常生活场景的作品给予了艺术作品可分析性,在展览现场的自述中亦有对日常世界的反思:“我们所说的现实,很大一部分是由社会建构的,人类社会的建设变得如此强大,以至于它统治着自然世界”。雷安的作品基于被建构的社会现实,解构抽象化、秩序化的日常,以小心翼翼的幽默感将被遗忘的日常世界打捞出来,呈现在观众面前。汪民安(2015)的《论家用电器》在修辞和关注点上与雷安十分类似,他以日常生活空间中的家用电器为分析对象,以理论视角切入的分析方式赋予日常生活以陌生化的面目,雷安的创作也是在熟悉场景的预设下对其进行陌生化处理。   雷安德罗·埃利希,《游泳池》,2019,中央美术学院美术馆展览现场正是由于雷安对日常生活的理论反思和关照,其作品亦在社会科学理论的语境下具有一定的可分析性。艺术与社会科学具有不同的学术面向:艺术品通常被认为是排斥经验性分析的,它可能是反经验的;而社会科学则致力于总结归纳普遍经验,寻求理论普适性而不是特殊性(皮埃尔·布迪厄, 2001, p. 3)。艺术的超验性本身就是它得以向前发展的逻辑规律,“为艺术而艺术”的论争亦曾得出一个暂时性的结论:艺术家生活本身就是一件艺术品,它并不寻求普适性的理解和解释,旨在展示与感受;艺术是悬浮的,社会科学是从投影寻找本体的过程。“科学能够理解,却疏于感觉”(皮埃尔·布迪厄, 2001, p. 3)。   雷安德罗·埃利希,《美发沙龙》,2019,中央美术学院美术馆展览现场雷安基于日常的非日常作品则打破了这两个学科之间的深渊,事先承认普适性的日常世界和常识的存在,在艺术家的主观表达与观众反应之间找到了微妙的平衡,它展现的不仅仅是艺术家对生活的观察,还有观众对日常生活场景的共同体验;与艺术场域的准入原则逻辑类似,承认“场”的事先存在,遵循场的历史成果,继而动摇场的规则,从而进入场:“革命方式是回到本原”(皮埃尔·布迪厄, 2001, p. 118)。雷安的作品从司空见惯的日常出发,通过既成社会结构与日常空间的重构,最终回到日常生活的讨论上来。他的作品与福楼拜(2015)的《庸见词典》异曲同工,福楼拜运用语言文本作为事先存在的“场”,借用语言这一具有普遍认同的符号来达到戏谑调侃的效果,而雷安创作的材料来源则是日常生活本身。   雷安德罗·埃利希,《反射港湾》,2019,中央美术学院美术馆展览现场社会科学的常人方法学为我们提供了一种视角,引领我们看到并意识到被遗忘的日常世界;雷安德罗·埃利希为我们提供了一种重新挖掘这个被遗忘的日常世界的路径,面对这个既成事实的世界不断质疑和反思,重拾日常世界的重要性:“这是巴纳姆与贝利的马戏世界,一切都假得透顶,但如果你相信我,假将成真。”策划/CAFAM官网编辑部文/苗天元(清华大学社会学系博士生)编辑/胡炘融 庄双博图/李标参考书目:居斯塔夫·福楼拜:《庸见词典》,施康强译,上海:华东师范大学出版社,2015年;欧文·戈夫曼:《日常生活中的自我呈现》,黄爱华、冯钢译,浙江:浙江人民出版社,1989年;基思·特斯特:《后现代性下的生命与多重时间》,李康译,北京:北京大学出版社,2010年;皮埃尔·布迪厄:《艺术的法则——文学场的生成和结构》,刘晖译,北京:中央编译出版社,2001年;汪民安:《论家用电器》,郑州:河南大学出版社,2015年;Harold Garfinkel: Studies in Ethnomethodology, New Jersey: Prentice-Hall, Inc, 1967. More

重新步入日常 ——谈雷安德罗·埃利希的《太虚之境》 ...

2019-08-18

技术手段关涉到美术馆的技术伦理和方法论的讨论与权衡,在这一点上,就像对于公众参与度和可亲近性同样充满热情的阿根廷艺术家雷安德罗·埃利希的作品,正如他所说,“我想消除作品的‘边界’。让观众看不到作品本身的轮廓,也不会感受到自己是在一件艺术作品中,而是真正地处于一种环境和空间里”,表达了消融当代艺术界的学科壁垒的尝试,剥除过度理性包裹甚或是异化的日常生活的的矫饰,赋予普通观众一种重新观照的信心与方法。 More

“黑白盒子”的内与外:装置的叙事与电影的反叙事 ...

2019-08-18

无论是我们在雷安的作品中找到的叙事,还是电影导演们力图做到的反叙事,都在借用对真实与虚幻之边界的探寻,斟酌“黑盒子”的内外与去留,在分享自己对于外部世界之体验的同时,传达对于自身所处系统的反思。 More

对话雷安德罗·埃利希:感知困惑是激发思考的一颗火花 ...

2019-08-18

“太虚之境”这个标题包含了两个相悖反的概念,它搭建了一个空间的框架,既指向空寂,又包含无限。阿根廷作家博尔赫斯的作品很大程度成启发了我的创作灵感,他也是一位对东方哲学十分着迷的作家。我认为中国的传统哲学在寻找一种最根本的真相,它的答案是无法被我们的家人或老师告知的。这个内在的答案需要我们自己用生命经验去寻找,而这也是我为作品的观众体验所预设的基础与框架。 More
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This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

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During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

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According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

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(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

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CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

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During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Event Booking Form

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!