Tiravanija’s maze is built of traditionally-tied bamboo scaffolding in which visitors will successively encounter five morphing versions of the same 3D-printed bonsai tree set on bases inspired by Constantin Brâncuși’s wooden pedestals. The pedestals are conceptualized as a dialogue between base and sculpture that emphasize the kinship of geometrically-structured matter and living form. Bonsai trees require persistent, thoughtful, and delicate labor to disguise any signs of artificial intervention; for the viewer they represent the beauty of the human hand working in harmony with a fractal configuration of nature. These mechanically-reproduced trees – white polymer copies of painstakingly crafted bonsais gradually losing their leaves – invoke both the concept of technological singularity and the transience of nature. Interweaving social interaction with pivotal art historical references, Rirkrit Tiravanija’s ephemeral installation encourages viewers to actively participate and generate their own experience.
藝術家 Rirkrit Tiravanija以傳統竹棚架搭建出迷宮，展出同一樹樁盆景演化而來的五個作品，邀請觀眾入內逐一體驗。該樹樁盆景以 3D 打印製作，靈感源自康斯坦丁‧布朗庫西（Constantin Brâncuși）的木製台座，把台座構想成底座與雕塑之間的溝通與聯繫，突顯出幾何結構物質與生物形態如何相類似。要為人工修整的樹樁盆景打造出自然感，需要無比的耐性、細心與精巧的手藝；對觀賞的人來說，樹樁盤景代表了一種美麗——人工工藝與不規則的自然構圖的諧和融合。這些以機器生產的人工樹木，透過白色塑膠重現那些精心製作的樹樁盆景，樹葉逐漸掉落，讓人同時聯想到科技的奇特概念和大自然的轉瞬即逝。這個臨時藝術裝置把社交互動和藝術歷史的關鍵時刻交織在一起，鼓勵觀眾積極投入其中，並創造出屬於自己的個人體驗。
