2018 蛇形美术馆外的雕塑装置 / Lee Ufan

艺术家Lee Ufan为肯辛顿花园带来了新的公共雕塑。

“艺术作品是舞台的一种表现”，Lee Ufan。艺术家Lee Ufan的雕塑被委托安装在肯辛顿花园的蛇形美术馆外，指引Serpentine 继续探索公共艺术直到2018年7月29日。

Artist Lee Ufan brings new public sculpture to Kensington Gardens.

‘The work of art is a representation of the stage.’ Lee Ufan.The Serpentine continues its exploration of public art with a sculptural commission by artist Lee Ufan, installed outside the Serpentine Gallery in Kensington Gardens until 29 July 2018.

2010年，Serpentine与皇家公园合作， 35年来首次为肯辛顿花园带来了新雕塑，展示了Anish Kapoor的《颠倒世界》。这一传统在2013年继续延续，Fischli & Weiss的《另一块岩石上的石头》，2014年Bertrand Lavier的《喷泉》，2015年Michael Craig-Martin的《短暂》，以及2016年Alex Katz的雕塑Ada (Wind Vane)。Ufan的新作品(Relatum – Stage, 2018)在元素和背景的微妙互动中，建立在渗透之前系列艺术作品的理念，以及艺术家自己对物质性和差异的不断探索之上。

In 2010, the Serpentine brought new sculpture to Kensington Gardens for the first time in 35 years, presenting Anish Kapoor’s Turning the World Upside Down, in collaboration with The Royal Parks. This tradition continued with Fischli & Weiss’s Rock on Top of Another Rock in 2013, Bertrand Lavier’s Fountain in 2014, Michael Craig-Martin’s Transience in 2015 and Alex Katz’s sculpture, Ada (Wind Vane), in 2016. In its subtle interplay of elements and setting, Ufan’s new work, Relatum – Stage (2018), builds on ideas that permeated previous artworks in the series, as well as the artist’s own ongoing exploration of materiality and difference.

Lee Ufan( 1936年生于韩国庆南)是20世纪60年代后期，先锋派独唱团体的主要理论和实践支持者之一，作为日本第一个获得国际认可的当代艺术运动，Mono – ha ( Object School )摒弃了西方的表征观念，专注于材料与感知之间的关系，而不是表达或干预。Lee Ufan的极简主义作品只用了钢铁和石头这两种材料，这是这一学派的特点。

Lee Ufan (b. 1936 in Kyongnam, South Korea) came to prominence in the late 1960s as one of the major theoretical and practical proponents of the avant-garde Mono-ha group. The first contemporary art movement in Japan to gain international recognition, Mono-ha (Object School) rejected Western notions of representation, focusing on the relationships between materials and perceptions rather than on expression or intervention. Ufan’s minimalist works using only two materials – steel and stone – are characteristic of this school of thought.

他最出名的是他的关系系列，这是他从20世纪60年代开始制作的，并在各种公共场所展出，包括凡尔赛宫和日本的Lee Ufan博物馆。每个装置包括一个或多个浅色的圆形石头和深色的矩形铁板。relatum是Lee Ufan的公共雕塑的名称，是一个哲学术语，表示事物或事件之间存在联系。这种对艺术品的激进处理方式，不是作为一个物体，而是作为一种关系网络，将艺术体验转移到在特定时间和空间中围绕观众展开的一次邂逅或场合。

He is best known for his Relatum series, which he has been making since the 1960s and has presented in various public spaces, including the Château de Versailles and the Lee Ufan Museum in Naoshima, Japan. Each installation comprises one or more light-coloured, round stones and dark, rectangular, iron plates. Relatum, the title given to Ufan’s public sculptures, is a philosophical term denoting things or events between which a relation exists. This radical approach to the artwork, not as an object but as a network of relationships, shifts the artistic experience to an encounter or occasion that unfolds around the viewer in a particular time and space.

Relatum – Stage由两块倾斜的、镜像的钢板和两块不同大小的石头组成，将自然和工业融为一个诗意的装置，反映公园周围的环境。Ufan的石头来自威尔士，它也让人想起Fischli & Weiss的《另一块岩石上的石头》，这是一部关于英国农村新石器时代纪念碑的戏剧，就像巨石阵。在关注他的材料在概念和空间上的精确并置时，Lee Ufan试图找到一种平衡来加强相遇的时刻，让我们看到“真实的世界”。

Comprised of two, angled, mirrored, steel sheets and two different-sized stones, Relatum – Stage merges the natural and industrial in a poetic installation that reflects the surrounding environment of the Park. Sourced in Wales, Ufan’s stones also recall Fischli & Weiss’s Rock on Top of Another Rock, a play on Neolithic monuments in the British countryside, such as Stonehenge. In focusing on the precise conceptual and spatial juxtaposition of his materials, Ufan seeks to find a balance that heightens the moment of encounter, allowing us to see ‘the world as it is’.

“最高层次的表达不是凭空创造，而是推动已经存在的事物，让世界更生动地展现出来。”Lee Ufan

‘The highest level of expression is not to create something from nothing, but rather to nudge something that already exists so that the world shows up more vividly.’ Lee Ufan