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項(xiàng)目名稱：沙嫵若《逝》
馬爾科姆 ? 麥克林：迷失的一年Through the Lens: New Media Art from Ireland
Varvara Shavrova: Untouched
Malcolm McClay: The Lost Year
展期：2008年3月16日——3月30日
Exhibition March 16 - March 30 2008
每周二至周日 上午10點(diǎn)—下午5點(diǎn)30分 ［周一休息］
Hours: 10:00am-5:30pm, closed on Mondays
UNTOUCHED is a photographic and multimedia artwork that identifies common strands of experience in China's capital Beijing and a rural community in Ireland.
《逝》是一個(gè)攝影與多媒體藝術(shù)作品，它探討中國(guó)北京都市與愛爾蘭鄉(xiāng)村生活的區(qū)別和多元化。
The artist, Varvara Shavrova, brings an unusual perspective to this seemingly paradoxical quest. Russian-born, she now divides her time between her two homes, one in a rural area of Ireland's west coast, the other in a traditional 'hutong' in Beijing. Using both visual and audiovisual frameworks, she juxtaposes and compares the lives of these two local communities, and highlights the fascinating similarities in what determines how lives are led in two very different cultural and social environments.
藝術(shù)家沙嫵若從獨(dú)特的視角出發(fā)來觀察這個(gè)看起來矛盾的探索過程。她出生與俄羅斯，現(xiàn)在的她把時(shí)間分配在兩個(gè)家鄉(xiāng)：一邊是位于愛爾蘭西海岸的鄉(xiāng)村，另一邊是傳統(tǒng)的北京胡同。 此系列作品將北京當(dāng)?shù)厣鐓^(qū)和愛爾蘭鄉(xiāng)村生活進(jìn)行羅列和比較，著重表現(xiàn)了兩種不同文化和社會(huì)環(huán)境下人們生活中令人驚奇的相似之處。
The project focuses on the physical and social changes that Beijing and its population are experiencing in preparation for the coming Olympic Games. This exhibition will touch a chord for many Chinese people, and for those living in Beijing in particular.
這個(gè)系列作品著重表現(xiàn)北京城和生活在這里的人們準(zhǔn)備迎接奧運(yùn)這一過程中的親身體驗(yàn)、以及社會(huì)變化。此展覽將觸動(dòng)很多中國(guó)觀眾，尤其是生活在這里的北京人。
It is rare for any artist to have the opportunity to carry out a project of this nature in such depth and breadth in China. Shavrova started working on the project when she first came to China nearly 3 years ago. Since then she has had opportunity to study the lives of the Beijing hutongs, and compare them to her experience of living in rural Ireland.
迄今為止，有機(jī)會(huì)在中國(guó)深入研究并提出這樣一個(gè)計(jì)劃的藝術(shù)家屈指可數(shù)。沙嫵若女士從3年前剛剛踏上中國(guó)這片熱土的時(shí)候就開始其研究。從那時(shí)起，她便獲得了很多機(jī)會(huì)去學(xué)習(xí)和體驗(yàn)北京的胡同生活，并把這些經(jīng)驗(yàn)和她在愛爾蘭度過的鄉(xiāng)村生活做羅列比較。
The project is presented as large-scale photographic installation, where the stark black and white images of old hutong neighborhoods are set against photographs of abandoned cottages in rural County Mayo in Ireland.
此系列作品由大型攝影裝置組成，其中刻畫胡同鄰里生活的是圖像犀利的黑白攝影作品，它們與荒棄在愛爾蘭Mayo縣鄉(xiāng)村里的民居景象遙相呼應(yīng)。
In UNTOUCHED project Shavrova juxtaposes the small farming community of Ballycastle with one particular Beijing neighborhood that is currently undergoing major redevelopment. Thus she indirectly reflects on the nature of Ireland's "Celtic Tiger" phenomenon, and the dramatic expansion of the world’s fastest growing economy.
這個(gè)系列作品把Ballycastle這個(gè)小城鎮(zhèn)和北京胡同里正在面臨整體改造的鄰里生活做了羅列比較。沙嫵若的作品間接地影射愛爾蘭本土的 ‘Celtic Tiger’現(xiàn)象1，和迅速擴(kuò)張和飛速發(fā)展地世界經(jīng)濟(jì)。
1‘Celtic Tiger’ 現(xiàn)象：‘Celtic’是愛爾蘭本土的一種語(yǔ)言，古語(yǔ)里曾用來形容愛爾蘭人民。 英文中于’tiger(老虎)’并置,常用來形容逐漸壯大的一種趨勢(shì)。‘Celtic Tiger’ 可理解為使愛爾蘭逐漸壯大，擁有強(qiáng)大經(jīng)濟(jì)實(shí)力。
These changes seem to affect the socio-economic structures of China and Ireland in a very similar manner, and there are fascinating comparisons to be drawn between the ways in which drastic economic changes have had an impact on the lives of ordinary people around the world today. The viewer is thus invited to make a connection between the two seemingly very different cultures and experiences, in order to understand and sympathize with the scale of changes on a human rather than a political level.
這些變化都對(duì)中國(guó)和愛爾蘭社會(huì)經(jīng)濟(jì)結(jié)構(gòu)產(chǎn)生相似的觸動(dòng)和影響。這其中引發(fā)出非常有意思的比較，即在猛烈的經(jīng)濟(jì)變動(dòng)下影響的普通老百姓的生活狀態(tài)。觀眾被邀請(qǐng)到展覽中來同時(shí)設(shè)身處地地感受不同的文化和經(jīng)驗(yàn)。從而從人性而非政治性的角度去理解和體諒這些社會(huì)變化。
Installed as a spatial interference in the double height space of the new Beijing Imperial City Art Museum, the exhibition combines digital and slide spatial projections, with imagery constantly flicking in and out of focus, and the sounds of the video pieces filling the space. UNTOUCHED becomes a kind of an obstacle course that the viewer has to negotiate, in order to share the artist's experiences.
這些作品將被特別呈現(xiàn)在擁有雙層高度的北京皇城藝術(shù)館空間里，此展覽同時(shí)穿插數(shù)碼和幻燈投影，使作品循環(huán)地同時(shí)重復(fù)和還原對(duì)焦，同時(shí)伴有聲音裝置充斥整個(gè)展廳。 ‘逝’仿佛是一個(gè)挑戰(zhàn)項(xiàng)目，觀眾在與之較量之中，方能體會(huì)作者之用意及感受。
Although Shavrova’s photographs are devoid of people’s presence, the absence of their presence becomes poignant through the scribbling on a semi-demolished wall of an old house in Beijing, or an abandoned bible sitting on an old fire place in a derelict farmer’s cottage in Ballycastle.
盡管沙嫵若的攝影作品中缺少人物的存在感，一方面這種由人物缺失形成的傷感被破舊不堪、即將被推倒的北京舊民居墻體上的劃痕訴說著；另一方面也從擱置在Ballycastle的一間農(nóng)場(chǎng)小屋里的一本被丟棄的圣經(jīng)這一情景中表現(xiàn)出來。
In contrast to the still photography, Shavrova’s video work concentrates on the people and their stories. Shot in a documentary style, the video conjures up a compelling story of personal experiences and creates vivid portraits of local neighborhoods and its people, both on the brink of extinction.
與平面作品相比，沙嫵若把影像作品的拍攝聚焦在人物和發(fā)生在他們之間的故事上。她運(yùn)用短紀(jì)錄片的形式，紀(jì)錄并塑造生活中人與人之間競(jìng)爭(zhēng)地生活狀態(tài)，由此刻畫出栩栩如生的地方鄰里生活和人物寫真。兩種狀態(tài)都是城市中瀕臨消亡的狀態(tài)。
Ireland's ambassador to China, Declan Kelleher, said in a foreword to the project that it revealed "intriguing similarities". "I am greatly impressed with the depth and innovativeness of Varvara's Untouched project, which is the culmination of over two years of painstaking work," he said.
愛爾蘭駐中國(guó)大使戴可瀾先生曾在此項(xiàng)目致辭中寫到，這個(gè)系列作品揭開“令人嘆為觀止的相似之處”。“我本人深深的為沙嫵若這次展出的《逝》這個(gè)系列作品所體現(xiàn)的深度和創(chuàng)新而感慨。這些作品達(dá)到了藝術(shù)家經(jīng)過兩年努力創(chuàng)作地極至。”
After Beijing it is planned that UNTOUCHED will tour other cities in China, and then travel to a venue in Ireland, providing a unique opportunity for Irish people to draw interesting comparisons between their culture and that of far away China.
北京這一站過后，《逝》將會(huì)到其他城市巡展，之后還會(huì)展轉(zhuǎn)到愛爾蘭。這將成為一個(gè)絕好的機(jī)會(huì)讓愛爾蘭的觀眾有幸接觸并比較自己和來自異鄉(xiāng)的中國(guó)文化。
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