當代藝術已在米蘭國際家具展的所在地找到立足之處

Ivan Carvalho

為何米蘭不止於時裝和設計

每當談及當代藝術和米蘭時，許多觀察家會提到一場讓這座城市受到藝術界關注而影響深遠的活動：2015年的米蘭世博會。在世博會之前，米蘭的兩大創意產業——時尚和設計，通常主導著文化討論。但為期六個月的世博會吸引了超過2,100萬全球遊客，特別是富文化修養的旅客，他們不僅渴望探索米蘭優雅的時裝和傢俱，更希望瞭解米蘭的藝術家、收藏家和策展人。

在最重要的米蘭國際家具展於4月18日開幕前，MDC畫廊展出了斯堪地那維亞雙人藝術組合艾默格林與德拉塞特（<a href="https://www.artbasel.com/catalog/artist/7137/Elmgreen-Dragset">Elmgreen & Dragset</a>）和瑞士藝術家約翰．阿姆萊德（<a href="https://www.artbasel.com/catalog/artist/57702/John-Armleder">John Armleder</a>）合作的展覽——「Room Service」。藝術家們巧妙地將現成物和極簡主義藝術品置放到歷史悠久的宮殿裡奢華的大理石和木作裝潢之中。De Carlo位處偏僻的畫廊是米蘭當代藝術界的標誌。其位於斯卡拉歌劇院附近的Palazzo Belgioioso舊址也結合了優雅和低調。

Peres表示在米蘭生活和工作的藝術家比柏林少，但這裡的生活質素以及其臨山面海的優勢是很大的吸引力。時尚界的支持也是另一關鍵：這個國家最知名的行業品牌之一在支持藝術方面發揮著至關重要的作用。2015年春季，Prada藝術基金會在米蘭開設了第二個空間，並在世博會期間開始迎接造訪這座城市的賓客。其令人印象深刻的19,000平方米建築群由普利茲克獎獲獎建築師雷姆．庫哈斯（Rem Koolhaas）在一座前釀酒廠的舊址上設計，現在是一個受歡迎的景點，在這裡可以欣賞具規模的主題展覽，或參觀擺放了設計師Miuccia Prada和她的丈夫Patrizio Bertelli長久以來之收藏的常設專案。
Prada藝術基金會是展現私人機構如何參與推動城市當代藝術的典型例子。儘管有時展覽也會在以設計主的米蘭三年展設計博物館（Triennale Milano museum）和米蘭文化博物館（Museo delle Culture di Milano）舉行，但現時唯一的當代藝術專門公共機構是PAC（Padiglione d'Arte Contemporanea）。

早於個多世紀前開始作為手套製造商的時裝品牌——Trussardi，對當代藝術的支持已經超越特定場所。Nicola Trussardi於1996年成立了他的同名藝術基金會，使命是將當代藝術帶入公共空間；其女兒Beatrice Trussardi於2003年掌舵，並由策展人Massimiliano Gioni擔任藝術總監；2021年，她成立了自己的Beatrice Trussardi Foundation。Trussardi在米蘭的公共藝術項目列表仿如一本當代名人錄，例如：迦納新星易卜拉欣·馬哈馬（<a href="https://www.artbasel.com/catalog/artist/30374/Ibrahim-Mahama">Ibrahim Mahama</a>）為米蘭威尼斯門套上巨大麻布袋的作品——《A Friend》（2019）；這幾年間同樣為米蘭城市景觀添上別樣色彩的藝術家包括<a href="https://www.artbasel.com/catalog/artist/6776/Anri-Sala">Anri Sala</a>和瑞吉奧．卡特蘭（<a href="https://www.artbasel.com/catalog/artist/19524/Maurizio-Cattelan">Maurizio Cattelan</a>）。

「人們通常視意大利為古代藝術、美食和風景的所在地，但米蘭是一個現代主義城市，雲集包括Gio Ponti的偉大設計師，而這裡在藝術上也有著同樣的態度。2022年與Chiara Repetto共同創辦<a href="https://www.artbasel.com/catalog/gallery/1170/kaufmann-repetto">kaufmann repetto</a>藝廊的Francesca Kaufmann解釋道：「這是一座當代之城。」位於遠離街道的庭院中，kaufmann repetto藝廊正有一場野心之作，展覽包括<a href="https://www.artbasel.com/catalog/artist/7779/Latifa-Echakhch">Latifa Echakhch</a>，<a href="https://www.artbasel.com/catalog/artist/23219/Simone-Fattal">Simone Fattal</a>和Corita Kent等藝術家。他們的作品將在米蘭國際家具展和第27屆miart藝術展會（4月14日至16日舉行）開幕前連續展出。新興藝廊同樣取得進展：成立於2011年的Galleria Federico Vavassori專注於培養和展示意大利人才，另外也包括一些國際藝術家。目前，Vavassori正單獨展出都靈資深藝術家<a href="https://www.artbasel.com/catalog/artist/8313/Gianni-Piacentino">Gianni Piacentino</a>的「Trans-Chrome」雕塑系列（2017年至今）。

‘The last 10 or 12 years have been my best,’ Magor reflects. ‘I have support, I can work on a steady basis, and there are places for the work to go.’ Her success did not come without challenges, however. The art world, after all, has historically been a boys’ club. ‘I’ve been on the margins because I’m a woman. You have to push really hard to get near the center when you’re on the margin.’ 
As Magor and I discuss her oeuvre, it becomes clear that she has a specific way of thinking about objects, which is that they guide the work. Objects all have life spans, she says, and voices. She’s most interested in the ones that aren’t too loud, that are capable of releasing some other thing: a ‘latent voice’ that comes through once that object no longer serves its original purpose. That’s why, when she’s at a thrift store, she’s looking for the mundane, the basic. Not the treasures.

Take her sculpture Oilmen’s Bonspiel (2017). A stuffed monkey-like critter clutches a wool sweater, one commonly worn in the 1950s and ’60s by outdoorsy types, with a patch on it that reads ‘Oilmen’s Bonspiel, 1960.’ (A bonspiel, I learn, is a curling tournament.) To Magor, this patch signifies a past owner’s alignment with Canada’s mining of oil sands. Now that the tune has changed on fossil fuels, Magor wonders, what happens to all these old symbols of a besmirched industry? ‘I’m saving it from disappearing forever,’ Magor says. She’s giving voice to a forgotten item, setting it free.
But, if you don’t know that background, what you might see is a funny combination of a bug-eyed plush toy holding an upside-down sweater, and you might think any number of things: associating the sweater with a cold climate, the toy with one from your childhood, or merely observing that this is a bizarre combination of everyday objects. The meaning could be anything, depending on a million variants. There’s no one answer, no one voice. 
‘It’s like you pull the thread however you want,’ I say.
‘Yeah, that’s right,’ she replies. ‘Pull the thread however you want.’

‘Liz Magor: The Separation’ is on view at MOCA Toronto through February 4, 2024.
Liz Magor is represented by <a href="https://www.artbasel.com/catalog/gallery/1606/Marcelle-Alix?lang=en" target="_blank">Galerie Marcelle Alix</a> (Paris), <a href="https://www.artbasel.com/catalog/gallery/1514/Catriona-Jeffries">Catriona Jeffries</a> (Vancouver), and <a href="https://www.artbasel.com/catalog/gallery/1179/Andrew-Kreps-Gallery">Andrew Kreps Gallery</a> (New York).

Grace Edquist is an art writer and the copy director of Vogue magazine. She lives in New York City. All photos and videos by Cillema Productions for Paris+ par Art Basel.

Published on September 8, 2023.

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這位駐倫敦的感官藝術家說：「我想像如果綠色是一種生物，它到底會是怎樣的呢？」

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