马克·奎恩：皮相之下展览现场图
《皮相之下》已然接近尾声，这场展览精选了马克·奎恩（Marc Quinn）不同创作节点的作品，将艺术家的多条创作线索混置其中，彼此相交，延展，由此而生的复杂性，同样是展览中引人深思的部分。在皮相之下似乎仍存有未知的境地，它们隐匿在不同线索之间微妙的关联和分别上，本文从创作思维的角度切入，探寻马克·奎恩作品的特质。
对立
《玛丽·安托瓦内特》
创作年代：1989
材料：铸铜、面包模具
尺寸：124.5 x 40.6 x 30.5 cm（高x 宽x 深）
她的眼眉向下坍落，五官像是卷进了漩涡里似的，以一种扭曲的形态散落在面颊的各处，原本高贵的发饰如脓肿一般堆积在头部，满是光泽的衣裳化作了灰褐色的“岩石”披挂在身上……
作品《玛丽·安托瓦内特》和《路易十六》的观感很难用语言形容，作为马克·奎恩较早时期的作品，它们的制作方式并不复杂：以面包为材料，“烤制”出两位法国皇族的肖像。人们耳熟能详的“人民无面包，何不食蛋糕”的言论，正是出自这对皇族夫妇；而今，面包“铸”成了他们的身躯，烤制产生的膨胀最终吞噬了他们的样貌。
《路易十六》
创作年代：1989
材料：铸铜、面包模具
尺寸：78.8 x 71.1 x 50.8 cm（高x 宽x 深）
对凡尔赛宫有印象的人，大都会将“路易十六”与“高贵”，“华丽”等字眼画上等号；带着这一印象再来观看奎恩的作品，会不由得顿生惊愕。粗陋的制作方式与巴洛克式的矫饰截然相反，扭曲的面容更是令“高贵”荡然无存；幻想之美好与感官之震慑在人们头脑中分裂，因“对立”而生的“落差感”成为了作品的魅力所在，也是引人深思的起点。奎恩仅用一个巧妙的“暗喻”，就将历史尺度下，君主和人民的权力关系显现出来。创作这件作品时，奎恩刚从剑桥毕业不久，这时的他已能熟稔处理创作中对立的要素，该特质也持续地贯彻到其之后的创作中。
《最终，我是完美的》
创作年代：2002
材料：由艺术家体内提取的碳元素制成的1.2克拉黄钻
十二年后，作品《最终，我是完美的》进一步展现出“对立”的锋芒。那时人工钻石的技术已然成熟，艺术家委托实验室，将自己的毛发中的碳制作成一颗黄钻，并以作品形式展出。面对夺目的钻石，人们会不由自主地落入一种“美学”的观赏中，而一旦了解奎恩的创作逻辑，即刻会被拖入一个与“美学”对立的远端。
在奎恩看来，将碳提取出来制成钻石，等同于将这部分碳从自然界的循环中剥离出来，凝固为“永恒”。如此大费周章的改造，看似赋予了这部分碳完美的形象，但也因此使它们丧失了再次转化为生命的可能，“完美”恰恰指向了“死亡”。标题看似贴合了视觉，却在不经意间扭转了作品的文本关系，只有触及到作品内在的人，才会意识到其中的讽刺意味。关于自我的“肖像”，关于对“恒长”与“完美”的质疑，在奎恩的其他作品中同样有所探讨，但这件作品偏偏将观念隐匿在更深的位置。比起《路易十六》，这件作品将“感官层面”的对立，拓展到“感官”和“观念”两个层面之间，这就促使观者将感官捕获到的信息，进一步投入到对内在的思考中，作品的表达因此显得更加连贯、整一。
跨越与重返
《克隆DNA自画像26.01.01（第二视角）》
创作年代：2001
材料：不锈钢、果冻聚碳酸酯、克隆细菌、克隆人类DNA
尺寸：26.2 x 20.5 x 2.7 cm（高 x 宽 x 深)
在展览空间里，作品《最终，我是完美的》与《DNA》陈列在一起展出，这也凸显出二者之间的共性——将现代科技纳入到创作中。此外，在马克奎恩的作品中，以化学混合物浇铸的雕塑《纯真科学》，被冷冻的血液雕塑《自我》，也同样借助了当下其他领域的技术。
《纯真科学》
创作年代：2004
材料：蜡、人造合成物、干葡萄糖浆、分馏椰子油、混合红花油、芥花油、L-精氨酸L-赖氨酸L-天冬氨酸，L-谷氨酰胺，
乳化剂（E472(c)），L-亮氨酸，柠檬酸三钾，磷酸氢钙，L-苯丙氨酸，柠檬酸三钠，L-脯氨酸，L-缬氨酸，甘氨酸，L-异亮氨酸，N-乙酰L-蛋氨酸，L-可可碱，氯化镁，L-组氨酸，L-丝氨酸，L-丙氨酸，氯化钾，L-色氨酸，胆碱酒石酸氢盐，L-酪氨酸，氯化钠，L-胱氨酸，牛磺酸，抗坏血酸，硫酸亚铁，左旋肉碱，硫酸锌，肌醇，烟酰胺，DL-Alpha生育酚乙酸酯，D-泛酸钙，硫酸铜，硫酸锰，盐酸吡哆醇，核黄素，维生素A醋酸酯，叶酸，碘化钾，亚硒酸钠，钼酸钠，维生素K1，生物素，氯化铬，维生素D3和氰钴胺
尺寸：25 x 68x 32.5 cm（高 x 宽 x 深）
那么，奎恩是如何将艺术之外的知识和技术，“收编”在自己作品中的？这种跨越学科边界的创作方式，对艺术家来说是一场持久的挑战，不但需要持续关注其他领域的成果，还要将其他学科的思维汇入到实践中。奎恩在科学和艺术的融合上，展示出极高的造诣；以《最终，我是完美的》为例，其逻辑底色是奎恩对“碳循环”的理解，他的理解并非仅停留在对概念的认识层面，而是用一种诗性的方式，将其融汇到自己对生命的领悟中；奎恩将“个人哲学”与“现实参照”结合起来，最终凭借“人工钻石”技术将作品实现。纵观这一过程，奎恩幸运地赶上了技术成熟的时机，但更重要的是思维层面的跨越和回归，倘若没有这一步，技术实践也就无从谈起；只有当“道”与“术”兼备时，这样的创作才可能真正发挥效用。
《另一个吻》
创作年代：2006
材料：大理石
尺寸：100 x 64 x 68 cm（高x 宽x 深）
谈到奎恩的“术”，并非只有“科技”这一个向度，坐落在特拉法尔加广场上的雕塑《怀孕的艾莉森·莱普》便是最好的例证。从人物的神情、姿态，到写实的雕塑手法、白色大理石的材质，无不带有古典英雄主义雕塑的色彩。虽然“残疾的怀孕女性形象”是作品的锋芒所在，但古典主义的倾向，作为与之对立的要素同样功不可没。此次展出的作品《另一个吻》、《切尔西·查姆斯》也具有类似的特征，这似乎表明“艺术史”在奎恩创作中的重要位置。
《切尔西·查姆斯》
创作年代：2010
材料：翡翠白
尺寸：169.5 x 59 x 52cm（高x 宽x 深）
访谈中他曾做过一个有趣的比喻：“当你看星星的时候，星星的光是成千万年前发出的，光到达地球也需要经过这么长的岁月；理解艺术史就如同看过去的光，它带来的信息能照亮你当下的思考。而千年之后你也会成为那光的一部分。”对于奎恩来说，艺术家的工作关乎历史和未来，一方面创作是与“未来”的对话，当千年之后人们回看这些作品时，依旧能勾勒出那个时代的形貌；另一方面，艺术家的“前卫性”，并不代表着思维层面的一往无前，而是要在恰当的时候重返“艺术史”，从中挪用也好，颠覆也好，都是基于对艺术史深刻的理解。
浪潮
《我们与星星的化学构造并无二致（KD220）》
创作年代：2012
材料：布面油画
尺寸：⌀219 cm
在跨越与重返的过程中，奎恩总能站在别具一格的视角上完成创作；面对这场展览，人们同样应该换一种视角，不仅将展览视作对奎恩个人脉络的梳理，同时也以英国这一代前卫艺术家为样本，反观奎恩在其中的代表性。
《关于爱的一切“天堂”》、《关于爱的一切“生命”》、《关于爱的一切“呼吸”》（由左至右）
创作年代：2016-2017
材料：强化玻璃聚酯、树脂聚氨酯、不锈钢片和竿、分轴轴环、软木和远东木合板
尺寸：214 x 66 x 76 cm（高x 宽x 深）、221 x 64 x 45 cm（高x 宽x 深）、213 x 64.5 x 67.5 cm（高x 宽x 深）（由左至右）
20世纪最后十年，以YBA（Young British Artists，英国当代青年艺术家的简称）为代表的艺术家群体掀起了一股浪潮，随着“感性”展（Sensation）先后在伦敦和纽约举办，这批艺术家的整体样貌也变得愈发清晰。那时YBA的作品大都与血和尸体有关，他们从现实中提取灵感，并用一种反叛的，新哥特式的手法将其表现出来。奎恩虽然参与了“感性”展览，但并非是YBA的成员；他与YBA的共通之处在于：作品中的反叛精神和现实性，吸引了公众开始关注艺术，使艺术从机构的一小撮人中走出来，成为能容纳更多群体参与的“主流文化”。在奎恩身上，通过艺术触及公众的特征尤为显著，他将作品视作交流理念的桥梁，借助他人的参与，使交流变得多样而有效。
《自我 2006》
创作年代：2006
材料：艺术家的血液，不锈钢，有机玻璃及冷冻装置
尺寸：208 x 63 x 63 cm （高x宽x深）
从创作《自我》开始，奎恩关注如何让更多人参与到创作中；今年，他将这个理念进一步延展，完成了这件关于难民的作品——《我们的血液》。作品是两个冰冻“血立方体”，由5000余人捐献的血液制作而成，其中有一半的捐献者是难民。奎恩将难民和非难民的血液区分在了两个立方体中，有意地将二者并排放置，去除标签；观者若仅凭肉眼，无法区别哪一个是由难民的血组成，哪一个是非难民的血液。同时，每位捐赠者都留下了访谈的录像，并伴随着展览播放给公众，展览筹得的善款也会投入到对难民的救助中。
马克·奎恩：皮相之下展览现场图
被“血立方体”打动的观者，也同时与奎恩传递的理念达成了共识。相较于多数YBA艺术家，奎恩并未用“恐怖”制造惊骇，其作品也回避了极为强烈的感官刺激，更多是以一种精巧的，温情的方式呈现在人们面前。简洁的“血立方体”如同一座无字的纪念碑，信息的空白使观看产生了“缺口”，从而激发起人们的好奇心，使他们迫切地想要了解作品的语境，以填补“缺口”产生的“痒感”。当人们了解到作品的由来，“血立方体”也骤然变得令人敬畏；它如同将成千上万真实的生命凝结在一起，在毫无差别的外观下，难民被遮蔽了种族、肤色和宗教信仰，他们“挤”在狭小的空间里，于苦难中等待救赎。比起数据统计，新闻报道和政治家的演讲，艺术在此处彰显出更加强大的一面，其唤起的反思和捐赠行为，也实际推动了问题的解决。
《治愈之美》
创作年代：2014
材料：混凝土
尺寸：190 x 50 x 50 cm（高x 宽x 深）
20世纪末掀起的这股浪潮，曾试图填充艺术与公众之间的间隙；当浪潮漫延至今，他们的努力的确使艺术涌向了公众。而马克·奎恩如同其中翻涌在前方的巨浪，他毫不懈怠地冲破阻隔，将更多人卷入这股浪潮中。“对立”使他的作品锋芒毕现，“跨越与重返”则是他视角不断更迭的动因；站在他的作品面前，人们盲目和狭隘似乎毫无招架之力，更多的人终将汇入其中，并成为这股浪潮的一部分。
撰文|范良俊
编辑|CAFAM官网编辑部
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I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
CAFA Art Museum Event Safety Disclaimer
Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
Article II
Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
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Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.
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Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
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During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
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Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
CAFA Art Museum Publication Authorization Agreement
I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
CAFA Art Museum Event Safety Disclaimer
Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
Article II
Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
Article III
Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.
Article IV
Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
Article V
During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
Article VI
Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
