中央美术学院美术馆非常荣幸为备受关注的艺术家雷安德罗·埃利希（Leandro Erlich）举办继2015年德国卡尔斯鲁厄艺术与媒体中心和2017年日本东京森美术馆个展之后，又一次重要的个人展览“雷安德罗·埃利希：太虚之境”。
在此之前，雷安德罗的作品已经吸引了全世界范围内众多观众的参与和体验，并且经由互联网和社交媒体的发酵，而被更广泛的观众群体所了解，激发了世界各地观众源源不断的灵感，产生了无数社交媒体照片和互动参与。毫无意外的，雷安德罗在中央美术学院美术馆的个展，也收获了巨大的人流量，创造了央美美术馆建馆以来观众量的高峰。但雷安德罗展览的意义绝不仅仅停留在“网红”展的现象层面，我们需要留出空间去思考，为什么他的展览能在全世界范围内引得如此多的观众参与？今天的美术馆是否需要重新检视在连接艺术家的创造和它的受众之间所扮演的角色？重新思考传统的美术馆式艺术走近大众视野的语境转换问题？这是在整个社会的信息化、智能化转型过程中，习惯于向观众显示文化主导权的美术馆，需要适应和直面的新课题——艺术的形态以如此深入公共空间的存在，被观众和艺术家共同改变。借由雷安德罗·埃利希的作品，让我们有机会思考当代艺术及其展览，如何在新媒体文化的催化下，与观众形成全新的观看关系。
凝视者角色的转变
在艺术史发展过程中，艺术的观看者是亘古不变的吗？中世纪教堂艺术所暗示的观者与拉斐尔作品暗示的观者有变化吗？与维米尔所暗示的观者是同样的群体吗？乃至今日走进艺术场馆的观众身份仍旧在发生变化，视觉作为一种智性、精神或想象的知觉，也在不断被重新定义。今天我们面对人们获取图像的来源和思想观念的形态如此多样的现状，如何面对美术馆观众群体的变化？我们看到，如今的普通观众（而非如过去更多是专业观众或半专业观众）走近美术馆，近距离接触艺术的热情是空前高涨的，而推动这股热情的要素，很大程度源自物质生活改善后对精神生活的需求跃升，如今智能手机的方便快捷和互联网即时通信技术的更新，个体与周围世界信息交换的渠道顺畅迅捷,人们热衷于将所见所得通过社交媒体，与或熟悉或陌生的社群分享，分享观点、结识朋友、获得认同。
这种现状对于雷安德罗来说，是意外的。观者之于雷安德罗的作品，不再仅仅是站在作品前“凝视”作品的观看者和作品意义的被动接受者，而是自主地成为这个开放舞台的叙事者。雷安德罗作品所预留的体验性“入口”，是他区别于传统型视觉艺术的一个显著特征。简帕克（Jan Parker）和罗伊巴兰坦（Roy Ballantyne）在《概念化观众体验一文献评述及多重模型建立思考》（Conceptualizing the Visitor Experience: A Review of Literature and Development of a Multifaceted Model）一文中将观众体验进行了系统的总结,该文将体验感分为十大方面：即身体体验（运动、活动、能量、身体剌激）、感官体验（感知、审美、对周边环境的感官反应）、复元体验（逃离、放松、振作、休息、自由、解放、宁静和舒适）、反省体验（沉思、想象、思考，反省和内心对话）、转化体验（灵感、能力、实现、自我认知和创造性）、娱乐体验（刺激、愉快、娱乐和沉溺）、情感体验（惊讶、骄傲、怀旧、敬畏和共鸣）、社交体验（社交互动、归属、分享和连通性）、精神体验（精神联系、崇敬、超然、与大自然交融）和认知体验（智力、学习发现、探索、理解和选择）。【1】而在雷安德罗的作品中，观者的确获取了多重交织的复合性体验，既可以置身事外的凝视作品，又或者选择成为雷安德罗的“搭档”，参与到创作环节。
雷安德罗•埃利希《连根拔起》2019年 中央美术学院美术馆展览 现场
这种将观众吸引进一个叙事时空之中的尝试，早前已经率先在电影艺术中运用，从默片到目前大热的3D、环幕甚至VR-虚拟现实，观众都不是观看世界的“置身事外者”。在雷安德罗的作品中，同样嫁接了这种对观众角色的预设。艺术家用主观设计的故事场景摆出邀请的姿态，让观者参与其中。吸引观者进入自己的角色，真正的戏剧冲突，是由观众来完成的。预设参与机制在游戏艺术的设计中体现得更为明确。要让观众产生创意,观者必须很容易地能够理解游戏给予他们的选择，为了容易，又不得不减少需要学习的选项。雷安德罗挪用了很多现代社会中司空见惯的场景，比如《试衣间》与《美发沙龙》，试衣间和美发店的场景早已经被现实世界预设在观众脑海中。他在装置中初始化了这些预设空间。当观众置身其中，会“偶然”地与其他观众四目相对——一个戏剧性叙事桥段即完成了。预设的生活场景和戏剧性桥段的表达天衣无缝，这件作品的叙事使命也在无数个这样的瞬间中达成：对于现实和幻境的二元讨论。没有观众，作品就无法完整。观众一定会跟着预设的“面包屑”，因为作品太过熟悉，又太过陌生。
《游泳池》 2019年 铁制钢架、木、钢化玻璃、泳池扶梯 中央美术学院美术馆展览现场
雷安德罗的作品中，观众也被赋予了多个观看视角。以《游泳池》为例，仿若悬空的玻璃池底的游泳池把水面的蔚蓝投向之下的空间，使之出现了水波鄰粼的幻象，同时给底部仰视与在上方俯视的观察者对视的机会，彼此嵌入对方的景观之中。引至对真相的延伸思考：我们看到的对方，和对方看到的我们究竟是什么样的。于是现实世界中的偏见被简单的呈现和凸显，调和还是刺激，每个观众都有自己的选择权。仔细观察你便会发现，其实所谓的“游泳池”只是一个被涂成蓝色伪装成游泳池的房间，屋顶放置了一块盛有薄薄一层水的玻璃顶棚，在阳光的照耀下，制造了充满水的游泳池波光粼粼的幻象。营造幻象的不仅是雷安的障眼法，还有在“水中”穿行的人们。当人们进入到“泳池”里这一空间，某种程度上会不由自主地“表演”使“水中穿行”这一行为更加逼真。这件作品本身成为一个供观众去互动的容器不仅仅是与作品本身互动，而且更有趣的是观众间彼此的互动。当观众在观看这件作品的时候，实际上他们也在观看其他观众，而他们自己亦成为了作品的一部分，被其他人观看。所以在这件作品展出时，我们会看到在作品中，观众彼此之间相互打招呼，或是在装置中的观众透过水面与外面的观众挥手致意。这是作品中一个极其特殊的时刻，这个时刻使得人们彼此之间的互联性被构建起来。
从真实到反思“真实”
我们再次返回来看雷安德罗作为艺术家角色所作的一切。
他像是一个导演，以日常化的场景铺陈了作品的叙事背景，雷安德罗的作品中创造了诸多无明确边界的场所，一座好似从天而降的《游泳池》、从地面《连根拔起》的房子、一扇门缝里露出光亮的紧闭的《门》、几只漂浮在如镜水面上的小船……它令观众感觉好像真的置身于展览所描绘的时空中，这是令人兴奋的,从而能够更好地融入展览中，并从中获取简·帕克和罗伊·巴兰坦所总结的多重体验。
《反射港湾》 2019年 中央美术学院美术馆展览现场
如果仅仅只为重现真实情境，雷安德罗的作品就索然无味了。我们可以注意到，在所有作品中，雷安并没有交待空间与时间终止点，这也是他的作品常常带给观者迷失、模糊、感知的困惑的原因，正如雷安德罗所说，在看见与相信之间存在着一个富饶的实验领域，他以空间位移、建筑错觉等对寻常空间的心理颠覆为手段，探讨了存在现实与意识模糊边界的错置问题，构建了一个视觉化的超现实叙事系统，创造真实与虚幻叠合的情境，从而引发了世界范围内的艺术评论家和策展人对经由视觉传导的感知及其多样性问题的重新思考。为了最恰当的表达他所要阐述的观念，装置、现成品、雕塑、视频，甚至绘画等媒介和视觉形式都进入了雷安德罗的创作视野，经由那些唤起观者现实感的日常场景，就像一个个“异托邦”入口，与老子所言的“恍兮惚兮，其中有物，窈兮冥兮，其中有精”的太虛境界隔着文化的时空两相契合，现实和表象彼此交融给观众带来虚幻之感，恍惚了人类眼睛这一感官系统的直接感知，进入想象的视域。对于真实性，雷安德罗所持的是一种怀疑和批判性的立场，在作品中，艺术家的立场并不显见，而是留给观众与他一起反思真实性存在的契机。
例如专门为这次展览创作的“中国城”版《建筑》，吸引了大批观众与之互动。作品呈现的是真实的“中国城”，是生长于异域的“中国城景观”，它来源于物理时空的真实，却与大多数中国人认知中的精神时空的真实相迥异。雷安德罗认为，人们会在陌生的异国他乡寻找熟悉的地方，从哲学角度这是一种人类的趋同本能。但事实上，在西方世界中的“中国城”和实际的中国城市不同。中国城本身是一个是跨文化的空间。雷安德罗在接受采访时说:“我想要创造一些能够反映中西两种文化邂近于此的作品，创造一些超越旅行者脑海中的（对于一种文化身份认识的）原型的作品。我认为北京很大程度上能够代表中国身份，这是一座能与中国历史与传统相连结的城市。我更倾向将一种被转化的身份特性带回到这种身份的原初地，我很期待看到这种转化带来的化学反应”。
《云》 2019年 中央美术学院美术馆展览现场
取景于央美电梯中的乘客影像被嵌入时开时合的电梯装置，画面是我们周围的观众，艺术家通过此系列展示出丰富的社会图景。用以体现艺术家对于想象与知觉的思考的作品《云》（Clouds）被转化为十二生肖中的五种动物轮廓；受到中国古典园林启发的《迷失花园》（Lost Garden）则是艺术家作品中极富特色的位移现象与中国建筑和园林元素的一次融合……事实上这是关于感官知觉与生活经验的讨论。感知经验实际上是一种人类的共同经验，并非关乎文化差异。当然不同的民族会有不同的文化、信仰与历史，但是作为人类，我们的感官知觉与生活经验并没有什么不同。
作品《迷失花园》通过搭建中国园林的一隅，锁定了缺席与在场的共生形态。这件作品里的镜面，除了视觉作用，更重要的是投射在意识层面的镜像作用。根据拉康的看法，正是由于对镜像的误认，人们才在想象中建立了自我意识。雷安德罗利用镜子这一元素，将作品空间描绘成具有萨特式哲学意味的环境，使观者不断意识到自身的存在。而自我意识是人与其他动物的极重要差别，构成了人类精神世界的发端。这样的体验关联到另一个戏剧性因素——情感。难得的是，雷安德罗的作品并不干预和引导情感的走向，而是任由其发展。对比《迷失花园》和《教室》两个作品。前者明亮而清晰，后者昏暗而暧昧。作品用灯光、道具等细节设计，帮助观众生成自己的情感。
雷安德罗从视觉感知的层面映照了一系列现代文化理论的预言，为视觉艺术研究和美术馆话语领域积极应对时代变化和观众新兴的“视觉狂热“提供了研究范本，期待理论研究领域和美术馆领域的同行们对此展开。
作者｜张子康（中央美术学院美术馆馆长）
编辑｜郑丽君
注释
【1】Jan Parker,Roy Ballantyne Conceptualizing the Visitor Experience: A Review of Literature and Development of a Multifaceted Model.Visitor Studies, 2016, 19 (2) :136.
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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.
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.
