反射被放大成景觀和觀眾之間的萬(wàn)花筒游戲。

通過(guò)所有這些鏡子來(lái)觀察風(fēng)景，用不同的距離，不同的視角，不同的角度，不同的亮度。我使用的后視鏡既是一種反射材料，也是一種更具象征意義的東西。這是一個(gè)神話游戲，每個(gè)觀眾都可以從后面，前面和很遠(yuǎn)觀看。我想到了一個(gè)像圖騰的垂直形式，靠近公園的樹。它需要存在于風(fēng)景中，也需要通過(guò)反射消失。我的工作總是質(zhì)疑我們與進(jìn)步和時(shí)間的關(guān)系。這對(duì)自然有明顯的影響。每一個(gè)后視鏡看起來(lái)都像一個(gè)貝殼，所有的組合都是非常有機(jī)的，就像粘在巖石上的貽貝。

——法比安

無(wú)論我去到哪方| 法比安

眉山鄉(xiāng)野藝術(shù)節(jié)參展藝術(shù)家訪談之九：

法比安

《無(wú)論我去到哪方》

雕塑

2018

玻璃、塑料、金屬等

高2.5米-3米，尺寸可變

▼

關(guān)于作品：

作為一名藝術(shù)家、策展人和老師，法比安·維隆從不同角度思考藝術(shù)。他的方法來(lái)自與藝術(shù)無(wú)關(guān)的個(gè)人事件，使他反思有關(guān)時(shí)間和美學(xué)之反復(fù)出現(xiàn)的問(wèn)題，并繼而通過(guò)探索具有彈性和象征意義的關(guān)系。法比安對(duì)事物的折射轉(zhuǎn)變特別感興趣，因?yàn)樗鼜膶徝?、?shī)意或哲學(xué)的角度揭示了非常廣義的問(wèn)題。

詩(shī)意始于敏感的觀察，是對(duì)世界的沉思。遠(yuǎn)離城市的空間是一個(gè)思考和反思的理想場(chǎng)所?！稛o(wú)論我去到哪方》是對(duì)開放，發(fā)現(xiàn)和多元文化主義的贊美詩(shī)。每個(gè)圖騰都成為一個(gè)無(wú)法修復(fù)的世界的斧頭，接收一個(gè)扭曲的現(xiàn)實(shí)，并迫使觀眾采用一種新的方式來(lái)觀察圍繞著我們的世界。像寺廟一樣，作品占據(jù)了萬(wàn)花筒般的游戲中的空間。每位參觀者都可以在不同距離的許多地方漫步并在景觀中看到自己。因此，有一種神話般的時(shí)間效應(yīng)，鏡子允許在前面，后面，遠(yuǎn)處，從一個(gè)臆造的過(guò)去和未來(lái)中看到現(xiàn)在所發(fā)出的光之刺痛。

Fabien Villon works as an artist, curator and teacher. It’s a way of thinking art from different angles and working for the same purpose, transmission. His approach comes from personal events that have nothing to do with art. These circumstances led him to reflect on recurring questions about tem- porality and aesthetics, sometimes left over materials by exploring a relationship that is both elastic and symbolic.

Poetry begins with a sensitive observation, a contemplation of the world. A space far-off the city is an ideal setting to contemplate and reflect. Wherever I may roam is a hymn to openness, discovery and multiculturalism. Each totem becomes an axe of a world that can not be fixed, it receives and returns a distorted reality and obliges the viewer to a new way of apprehending which surrounds us. Like the bases of a temple, the artwork occupies the space in a kaleidoscopic game. Each visitor can experiment walking around and seeing himself in the landscape in many parts with different distances. There is therefore a mythological play of timelessness, mirrors allowing to see in front, behind, far away, in an invented past and a future to be imagined through the luminous tingles of the present.

眉山鄉(xiāng)野藝術(shù)節(jié)現(xiàn)場(chǎng)：

以下為眉山鄉(xiāng)野藝術(shù)節(jié)策展團(tuán)隊(duì)與法比安之間的對(duì)話：

問(wèn)：眉山鄉(xiāng)野藝術(shù)節(jié)策展團(tuán)隊(duì)

答：藝術(shù)家法比安

問(wèn)：近些年來(lái)中國(guó)越來(lái)越多的藝術(shù)節(jié)或雙年展走向了城郊甚至鄉(xiāng)野，在國(guó)外也不乏這樣的案例，你如何看待這樣一種現(xiàn)象？

答：當(dāng)代藝術(shù)文化自誕生之日起就是城市的。 在其他地方展出之前，你首先需要在城市中得到認(rèn)可。尤其是在國(guó)際化的城市里，總會(huì)有更多的機(jī)會(huì)去接觸專業(yè)人士、策展人、收藏家、評(píng)論家……有很多原因可以解釋為什么人們對(duì)把藝術(shù)節(jié)和雙年展搬到郊區(qū)或農(nóng)村地區(qū)感興趣。我認(rèn)為第一個(gè)原因是經(jīng)濟(jì)上的，城市中心的租金上漲了很多導(dǎo)致文化活動(dòng)很難有大的空間。此外，還有把文化帶給所有人政治因素。在大多數(shù)情況下，經(jīng)濟(jì)和政治都與宣傳和促進(jìn)新領(lǐng)域聯(lián)系在一起。我們可以希望，與自然共存的必要性也與此相關(guān)。

問(wèn)：眉山鄉(xiāng)野藝術(shù)節(jié)主題設(shè)定為“詩(shī)意的所在”，希望藝術(shù)家在一個(gè)理想化的園區(qū)按其對(duì)自然與大地的理解延伸對(duì)于藝術(shù)的認(rèn)知，你如何看待這一主題？

答：我認(rèn)為藝術(shù)總是與自然聯(lián)系在一起的。創(chuàng)造的行為總是自然的。靈感往往伴隨著觀察和感受。許多藝術(shù)家仍然把自然作為來(lái)理解我們生活的世界的一門學(xué)科或一種工具。對(duì)我來(lái)說(shuō)，為眉山鄉(xiāng)野藝術(shù)節(jié)創(chuàng)作一件作品，是一種在自然環(huán)境和我的創(chuàng)作之間找到和諧的機(jī)會(huì)。在這里我做了一些不同于博物館的實(shí)驗(yàn)。這個(gè)人工花園是一個(gè)美麗的案例，它提供了其他的可能性和對(duì)空間的其他感知。這有點(diǎn)像回到最初的意義，我能感覺到一種永恒的狀態(tài)，仍然能聽到大自然所有的聲音。

問(wèn)：你為此次展覽創(chuàng)作了怎樣的作品？表達(dá)了什么意涵？具體又是如何安排作品與環(huán)境的關(guān)系以及對(duì)于主題的傳達(dá)的？

答：我創(chuàng)作了一件新的作品叫做?無(wú)論我去到哪方?，是三個(gè)一組的由鋼結(jié)構(gòu)和汽車、卡車和摩托車的后視鏡制作的雕塑。這個(gè)想法是通過(guò)所有這些鏡子來(lái)觀察風(fēng)景，用不同的距離，不同的視角，不同的角度，不同的亮度。我使用的后視鏡既是一種反射材料，也是一種更具象征意義的東西。這是一個(gè)神話游戲，每個(gè)觀眾都可以從后面，前面和很遠(yuǎn)觀看。我想到了一個(gè)像圖騰的垂直形式，靠近公園的樹。它需要存在于風(fēng)景中，也需要通過(guò)反射消失。我的工作總是質(zhì)疑我們與進(jìn)步和時(shí)間的關(guān)系。這對(duì)自然有明顯的影響。每一個(gè)后視鏡看起來(lái)都像一個(gè)貝殼，所有的組合都是非常有機(jī)的，就像粘在巖石上的貽貝。

視頻截圖：

問(wèn)：本次展覽的作品和以前的創(chuàng)作思考有什么關(guān)系？

答：這個(gè)新作品與以前用后視鏡和許多車禍產(chǎn)生的二手廢品制作的雕塑有一定的聯(lián)系。我做了比平常更大的雕塑，把它設(shè)置成靠近樹木的一個(gè)小樹林。更好的是，反射被放大成景觀和觀眾之間的萬(wàn)花筒游戲。

問(wèn)：大地藝術(shù)是二戰(zhàn)后出現(xiàn)于歐美的藝術(shù)潮流，你覺得我們重新提出這一說(shuō)法有什么意義？換而言之，就是“大地藝術(shù)”在當(dāng)下有何新的意義？

答：這是個(gè)好問(wèn)題，大地藝術(shù)一直很難被定義。對(duì)我來(lái)說(shuō)，它仍然與70年代的藝術(shù)運(yùn)動(dòng)緊密相連，也就是說(shuō)，用自然材料和自然環(huán)境創(chuàng)作的藝術(shù)品。也許“大地藝術(shù)”是一個(gè)合適的術(shù)語(yǔ)，或者我們甚至不需要它，因?yàn)榭吹剿囆g(shù)家在大自然中工作是正常的。這一直以某種方式存在，只是在今天與自然共處的問(wèn)題是變成了一個(gè)主要問(wèn)題。

問(wèn)：此次藝術(shù)節(jié)所在地是坐落于四川眉山的“中法農(nóng)業(yè)科技園”，你如何思考大地藝術(shù)在此跨文化語(yǔ)境中的關(guān)系以及在地性問(wèn)題？

答：與城市的距離是一種探索各種主張和觀點(diǎn)的自由。作為一個(gè)外國(guó)人，中國(guó)的城市對(duì)我來(lái)說(shuō)太大了，我很難理解我在哪里。成都是一個(gè)很好的城市，但它大得出奇，高樓大廈一直延伸到無(wú)限遠(yuǎn)。中法農(nóng)業(yè)科技園的選址給人以耳目一新的感覺。這是創(chuàng)造跨文化交流的完美場(chǎng)所。同時(shí)，向當(dāng)?shù)氐木用裢扑]高雅文化的同時(shí)考慮其在地性是一件好事。

問(wèn)：你對(duì)本次藝術(shù)節(jié)有怎樣的期待？

答：我希望將來(lái)會(huì)有其他擁有不同主張的版本。這個(gè)藝術(shù)節(jié)展示了多位來(lái)自中國(guó)和法國(guó)藝術(shù)家,但也許將來(lái)還其他國(guó)家的藝術(shù)家，畢竟我們很多人都是在各處旅行。我希望這個(gè)藝術(shù)節(jié)將來(lái)還不限制藝術(shù)家只使用天然材料,也可能擴(kuò)展到不同的領(lǐng)域,甚至視頻或表演。這是一個(gè)讓藝術(shù)在鄉(xiāng)村得到如此關(guān)注的機(jī)會(huì)，它需要進(jìn)一步發(fā)展。

Interview with the artists of the First MeiShan Land Art Festival

Q: In recent years, more and more art festivals or biennials in China have gone to suburbs and even rural areas. There are also many cases in foreign countries. How do you view such a phenomenon?

Since its birth, Contemporary art culture is urban. You need first to be recognized in the city before exhibiting elsewhere. When the city is International, it’s always more opportunities to get, meeting professionals, curators, collectors, critics… There are many reasons that could explain this interest for art festivals and biennals to move to suburbs or rural areas. I think that the first reason is economic, rents have increased so much in the city centers than big spaces are very hard to get for cultural events. Then there is a political aspect to bring culture to everyone. In most cases, both economic and politic are linked to promote and to boost new areas. We could hope that there is also a relevant stake about the necessity to live with nature.

Q: The theme of the First Tianfu Land Art Festival was set as “Poetic Ubiety”, hoping that the artist will extend his acknowledgement of art basing on his understanding of nature and the earth in this idealized park. How do you view this theme?

I think that art is always connected with nature. The act of creating is always natural. Inspiration often comes with observation and feelings. Many artists still use nature as a subject or a tool to understand the world we live in. For me, creating a work for the Tianfu Land art festival was an opportunity to find a harmony between my artistic approach and this natural environment. I’ve experimented something very different than a museum. It looks like that this artificial garden is a beautiful case and gives other possibilities, other perception of the space. It’s a bit like going back to an original meaning, I can feel a timeless state and still hear all the living sounds of nature.

Q: What kind of work did you created for this exhibition? What idea does it express? Specifically, how did you arrange the relationship between the work and the environment, and the communication of the theme?

I’ve created a new work called ? wherever I may roam ?, a set of 3 sculptures made with steel structures and a cluster of rearview mirrors from cars, trucks and motorbikes. The idea is to look at the landscapes through all of these mirrors, with different distances, point of views, angles, brightness. I use rear-views both as a reflecting material and something more symbolic. It’s a mythological game in which each viewer can see back, in front of and far away. I’ve thought about a vertical form like totems, close to the trees of the park. It needed to exist in the landscape and disappear as well by reflecting it. My work is always questioning our relationship to progress and time passing. It has of course obvious consequences on nature. Each rearview look like a shell, all of the assemblage is very organic, like mussels agglutinated on a rock.

Q: What does the work created for this exhibition have to do with your previous creations and thoughts?

This new work is linked to previous sculptures made with rearview mirrors and many second hand wastes from car crash. I’ve thought about bigger sculptures than usual and setting it like a grove, close to some trees. It’s even better, reflects are multiplied into a kaleidoscopic play between the landscape and the viewer.

藝術(shù)家和策展人現(xiàn)場(chǎng)合影：

座談會(huì)發(fā)言:

與策展人合影：

Q: Land art is an art trend that emerged in Europe and the United States after World War II. How do you think of the significance of revoking this statement? In other words, what is the new meaning of “earth art” nowadays?

That’s a good question, it’s always difficult to define Land art. For me it’s still very connected to this movement from the 70’s, that is to say artworks with natural materials and in an natural environment. Maybe ? earth art ? would be an appropriate term or maybe we even don’t need one as it should be normal to see an artist working in the nature. This has always existed in a way but today the question of inhabiting with nature is a major one.

Q: The location of the festival is located in the Sino-French Agricultural Science and Technology Park in Pengshan District in Meishan City, Chengdu, Sichuan. How do you think about the relationship between land art in this cross-cultural context and the issue locality?

The distance from the city is a freedom to explore various propositions and point of views. As a foreigner, cities of China are so huge to me that it’s very hard to understand where I am. Chengdu is a great city but inordinately big with high buildings and skyscrapers that expand to the infinite. The location of the Sino-French Agricultural Science and Technology Park is a breath of fresh air. This is the perfect place to create cross-cultural exchanges. Also, it’s always good to think local and propose high culture to the living people of the area.

Q: What are your expectations for this Land Festival?

I hope that there will be other editions with always very various propositions. The force of this festival will be to showcase a diversity of artists from China and France but maybe also other countries as many of us are traveling a lot. I wish that the festival still won’t limit artists only to natural materials but could also extend to different fields, even video or performances. This is a chance to get such a focus into art in the countryside and it needs to grow even more.

其他作品：

Wild horse, 2010

112 x 252 x 62 cm

Crashed motorbike, steel

關(guān)于藝術(shù)家

法比安·維隆（法國(guó)）

Fabien Villon （France）

法比安生于法國(guó)，現(xiàn)居于里昂。2006年畢業(yè)于法國(guó)巴黎高等裝飾藝術(shù)學(xué)院?，F(xiàn)為自由藝術(shù)家、策展人。作品曾多次參加國(guó)際性展覽，包括美國(guó)、加拿大、法國(guó)、德國(guó)、英國(guó)和意大利。他是法國(guó)“內(nèi)部與收藏藝術(shù)空間”的發(fā)起人和藝術(shù)總監(jiān)，策劃多次藝術(shù)展覽。也曾參加里昂雙年展。法比安關(guān)注物質(zhì)的轉(zhuǎn)變和物件的折射，因?yàn)樗鼜膶徝?，?shī)意或哲學(xué)的角度揭示了非常廣泛的問(wèn)題。創(chuàng)作過(guò)程是他工作中的核心問(wèn)題。它讓法比安質(zhì)疑人類與進(jìn)步、技術(shù)和自然的關(guān)系。

除署名外，圖文由眉山鄉(xiāng)野藝術(shù)節(jié)提供。

詩(shī)意的所在

眉山鄉(xiāng)野藝術(shù)節(jié)

展覽時(shí)間：

• 2018年9月29日-2019年1月5日

展出地點(diǎn)：

• 中國(guó)四川省眉山市天府新區(qū)中法農(nóng)業(yè)科技園形象示范區(qū)

策展人：

• 楊小彥、克里斯特爾·蒙圖里(法國(guó))、胡斌、龍邃洋

藝術(shù)家：

• 朱利安·德·卡薩比安卡（法）、菲利普·科林（法）、傅中望、顧雄（加）、混合小組、焦興濤、林景山（加）、劉建華、石頭先生（法）、法比安·維?。ǚǎ?、王義明、史金淞、曾曦

眉山鄉(xiāng)野藝術(shù)節(jié)已于2018年9月29日在中國(guó)四川省成都市近郊的眉山華僑城中法農(nóng)業(yè)科技園開幕。中法農(nóng)業(yè)科技園位于四川省眉山市天府新區(qū)，坐擁錦江，背靠彭祖山，面朝黃龍溪古鎮(zhèn)，文脈深遠(yuǎn)，歷史綿長(zhǎng)。眉山鄉(xiāng)野藝術(shù)節(jié)是在巴蜀地區(qū)舉辦的首個(gè)大型國(guó)際性以大地作為載體的藝術(shù)節(jié)，主辦方希望通過(guò)參與藝術(shù)家批判性思考的方式讓藝術(shù)與自然環(huán)境互為作用，并通過(guò)大地藝術(shù)的形式讓民眾更深入地關(guān)注和反思環(huán)境生態(tài)議題。藝術(shù)節(jié)依循城市山水主義，根據(jù)園區(qū)的氛圍呈現(xiàn)，通過(guò)藝術(shù)家的作品去構(gòu)筑生活的寫意與和諧。自開展以來(lái)，人流如織，深受大眾喜愛。展期至2019年1月5日。