德意志行(4): Skulptur Projekte Muenster 07

Right: Temporary Architecture Switch+ by Modulorbeat - Jan Kampshoff and Marc Günnewig

拖了這麽久才寫這篇，很丟臉。但是在公在私，當時亦有苦衷，在此不贅。總括而言，順遂或波折也好，到底不該輕怠自己曾努力追求過的東西。

像Muenster這個德意志城市那樣，自1977年起，窮10年才舉辦一次的展覽，給我們看到的不止是一件藝術界的盛事，而是一份commitment，對象包括城巿、居民、策展人、藝術家、所有工作人員和五湖四海的觀衆。

第一屆的雕塑展請來全是那年頭當時得令的藝術家如Joseph Beuys, Donald Judd, Richard Serra, Claes Oldenburg, Carl Andre, Richard Long, Ulrich Rueckriem, Michael Asher及Bruce Nauman等等...簡直是一時無兩! 由於當年他們大多數以雕塑創作為主，所以叫Sculpture Project也合情合理。時至今天，出現於公共空間的藝術已不再是outdoor sculpture獨大，繼續稱之為雕塑展是有點不合時宜了。


(圖中所示作品至今仍放置在Muenster市內)

十分有趣的是，77年建議創造"Square Depression"的Bruce Nauman，他的作品要等到07年才得以實現，真是苦盡甘來! 倫敦的藝評人John Slyce就這樣說過:

I hope Bruce Nauman's Square Depression, a 25x25m hollow in white concrete some 2.5m in depth, remains permanently in the ground before the Centre for Natural Sciences on Wilhelm-Klemm-Str. Nauman proposed the piece in 1977 but it was resisted then by regional planners and was not realised. However, neither its scale, nor significance nor cost--Nauman has offered the piece for its 1977 price of 3,200 [euro]--will guarantee that it does. The piece encapsulates the retrospective potential of Munster and links well to the '77/87/97/07 Archive'exhibition overseen by Brigitte Franzen and housed in the Landesmuseum. The brilliance of Square Depression is partly that conceptually it dates from 1977 and takes form as a contemporary index to the works of Joseph Beuys, Donald Judd, Richard Serra, Claes Oldenburg, Carl Andre, Richard Long, Ulrich Ruckriem and Michael Asher. The horizon begins to float above your head as you walk down a gradient to the apex of one of four isosceles triangles. The piece returns the viewer to when Nauman was occupied with negative space and the physicality of the perceiving and perceived body. Annette Wehrmann's AaSpa-Wellness am See produces its own expectations of 'permanent' transformation and regeneration to the body, the city and its landscape. Two crudely hand-painted boards announce the construction site plans and a rendition of a domed-shaped glass structure along the artificial banks of Lake Aa. The construction hoarding, behind which diggers perpetually stack sod and shift piles of topsoil, sets up one of many semi-permeable boundaries across Munster delineating the political fault lines of private enterprise in what is ostensibly public space. (COPYRIGHT 2007 Britannia Art Publications Ltd.)

與其說是一個雕塑展，倒不如說是一場尋寶遊戲或一段探索歷史、反思真理的旅程，當中觀衆得到的與所付出的均成正比。只是在追尋的過程，大家未必會找到精緻甜美的藝術作品。如果博物館展出的傑作像公主般高貴罕有，那Muenster這個project所孕育的則是風中勁草，它們都是street wise的，跟過路人娓娓道出作者如何以個人獨有的藝術語言，塑造這個城市的輪廓，反思藝術的本義，從而為公共空間、人民與藝術建立一連串微妙的關係。

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