身份杂糅的跨文化艺术家
安尼施•卡普尔（Anish Kapoor），1954年出生在印度第二大城市孟买，他不到二十岁就留学英国伦敦的霍恩西艺术学院和切尔西艺术与设计学院，1980年代先后在巴黎、伦敦和美国马萨诸塞州举办大展，成为享有国际声誉的艺术家。1991年卡普尔获得英国乃至世界上最著名的当代艺术奖项——透纳奖，之后陆续在英国泰特现代美术馆涡轮大厅、法国凡尔赛宫、意大利罗马现代艺术美术馆、伦敦奥运会、芝加哥世纪公园等地实施过他那充满了东方精神，并与环境完美结合的大型作品。
安尼施•卡普尔
卡普尔的父亲是“印度人”，母亲是“犹太人”，从小在印度的“基督教”家庭长大，青春期去以色列学习了“机械工程”，后来前往英国学习艺术，并且成为了一名“佛教徒”。他没有给自己设定文化坐标，经常强调“我只是在英国工作的艺术家”。但是从他的作品中，可以使人联想到上述诸文化之间的影响，以及互相的杂糅、隐喻和变迁。此次到中国展览，在中央美院这样一个艺术界著名在大众视野稍显陌生的学府，以及极能代表中国传统文化又具当代展览功能的太庙艺术馆展出，对艺术家及其作品而言，具有了前所未有的中国文化的维度，使作品的内涵和外延都更加丰富，足以激发更多的联想；对中国的观念艺术创作，公共美育的深层次思考，也有着与众不同的意义。
壮美，凄美且唯美的“交响乐”
一进展厅，观众会被巨大的装置《致心爱太阳的交响乐》吸引，三条错落摆放的机械传送装置高约十米，在当代艺术的作品中应该算是巨无霸，其体量和可以四围观看的视角给人带来的冲击和震撼绝非常规体量的作品可比拟。传送带的目标是那个巨大的红色“太阳”，以日晷般的样貌被安置着，这种红色不是朝霞或者晚霞的美好色调，也不是传统意义上的中国红（朱砂或胭脂），对比那件回应路易十四“太阳王”称号的不锈钢抛光雕塑“镜面太阳”，仿佛带着一种机械和血色的意味。传送带的终点离“红太阳”有一定的距离，形成了一种视觉和结构上的“荒谬”，也给这种关系一种动态的联想。
《致心爱太阳的交响曲》 中央美术学院美术馆 拍摄：李标
即便在我们观看作品的时候传送带没有启动，仍然可以想象当机器运行时，在展厅内外猛然听到一声巨响后对感官的震撼。血红色的蜡块通过机械传送，落下后砸在另一个蜡块上，每块蜡都有了重重的摔痕。从蜡块的数量上而言，无论是源源不断地添加坠落，堆积成一座山，进而接近甚至淹没那尊红太阳，抑或将现场数百十块半米见方的蜡块反复传送，最终蜡块轮廓都将消散，血肉模糊……两种维度都是对工业、社会和时代变迁中的个体命运做了生动的描述。艺术家说这组作品借助了古埃及的金字塔结构，也可以让人联想到各个版本的远古神话、工业建设、社会运动和肉搏战争。客观而言传送带上的当事者，无论是搬运者、传送者、坠落者，无论最终能否触达终点，其过程都很壮美；从更广阔和宏大的维度讲，坠落的结局是凄美的、悲壮的。跳脱出来看，艺术家在用一种唯美的、涅槃的语言进行表述，各个元素的状态最终都归于寂静和弥散。
精致，变幻且浪漫的“单细胞”
三楼大厅的中央是一件六七米高的立方体，红色中间窝型凹陷，移步换景后黑色面板中间有红色扁圆深窝的结构。从当代艺术的观看经验而言，这是和材料美学、女性或生殖有关的作品。一篇展览评论中有句话说的很好：“颜色的力量是神奇的，且有力量的，它与空间和形状结合起来，便能制造一种吸引人走过去，再走近一点的冲动。”确实，这件周围开阔的方盒子首先吸引了孩子们的兴趣，跑过去之后发现是完全可以走进内部的神奇结构，大人在内部站立都非常宽敞，并被正红色所笼罩，中间横亘着金属感的流动曲线，也可以联想到有规律的内在秩序，循环往复的运动轨迹。孩子们在里面被映得通红，充满了好奇和专注，还原了母体之中的状态和样貌；广意地延展到人类和宇宙空间的关系、生命的璀璨，这不同于那种直视、放大、甚至是夸张性器的语言方式，用引起人们“不适感”或者“罪性”让人思考的创作理念。
《将成为奇特单细胞的截面体》 中央美术学院美术馆 拍摄：李标
这件作品名为《将成为奇特单细胞的截面体》，张子康馆长评论说“卡普尔是一位营造大师，重新定义了时间与空间全新的维度。他将作品保持在一种行进中的状态，允许时间与空间自由生发。他通过视错觉与材料语言的特殊组合，打破时间和空间对作品的制约性，时间与空间不断变幻的动态关系互相探寻，开启作品自身蕴含的强大力量，给予观众不同时刻不同角度都完全不一样的感知。”直观地说，卡普尔用的材料仅仅是红色的P.V.C，外面看起来是坚不可摧、意味深邃的工业甚至金属质感，内部看起来轻盈甚至脆弱，但却生动地表达了生命、母体的奇幻和美丽。对比他的个人美术史，从1980年代起开始用固体和石头雕塑有孔径和腔的作品，以及最近引起轩然大波的讽刺路易十六王后《肮脏的角落》，其中隐喻的物质与精神、光与黑暗、肉体和身心、男性和女性等多重元素，都是艺术家创作中的一个面向，属于唯美且深刻、多维的“女性美学”，和前文描述的宏大叙事的“工业美学”，以及后文描述的带有血腥、暴力但却诗性的“生命美学”颇有不同。
悠远且诗意的“红色家乡”
《我的红色家乡》（蜡、油基漆、铁制臂、发动机）在美术馆的四楼展出，观看时没有启动因此没有看到完整的过程，但是通过后来的文本阅读还是被深深地震撼，这应该不是大众心理学中因为遗憾而产生的魔力。古往今来有太多作品让观者无法亲临，却仍可以引发深刻的思索和无尽的联想，对教育者和研究者而言，借助资料和文献进行研究本身就有无穷的乐趣，并且当今科技的发达和各样艺术研究手段的丰富足可以提供肉眼无法企及的内容。当然，那些有幸亲临原作仔细观摩的人会得到更多现场的感受，深刻的记忆和多元的激发，正是博物馆教育和面对原作的独特意义。
《我的红色家乡》 中央美术学院美术馆 拍摄：李标
25吨红蜡是一个巨大的体量，因为在不断地搅拌和形塑，血红色的蜡质骨肉模糊、魂飞魄散，会引起观者的不适和不安；发动机不知疲倦的响声，带动机械臂无情地碾压，不再是工业美学的秩序，而是一种暴力和无情；现场弥漫着工业蜡的味道，全然不是生日蜡烛的奶油巧克力般甜蜜；观者可以环绕着作品俯瞰，或远或近，或超然或介入，又俨然一种“上帝视角”。对比卡普尔2015年的《射击》那尊加农炮向墙角发射的红蜡造成的惨烈而言，这件作品虽然继承了工业美学的碾压，形式上却可以联想成一架唱机，消解了其中的悲剧美学，或悲或喜对观者来说都是一种局外事，对个体记忆和人类历史而言，所有细节都将变的遥远且模糊，只有创造者自己才能知晓和预知生前身后事。
媒材的边界和精神的意义
图片拍摄于中央美术学院美术馆 拍摄：庄双博
卡普尔是一位善用材料和形式的高手，多种元素在他多元的身份背景和思维意涵中表现了无穷的张力和广泛的链接。在本次展览中我尤其关注和思考的材料元素有三：首先是“红蜡”，这是一种软质，可变的质料，其长方体的块状和被碾压的痕迹很容易让人联想到躯体，以此延伸到人类的物质性和脆弱性。在巨大的工业场景和时代洪流中，这种个体的命运又变得趋同和消散，仔细想想，伟人和小丑，巨人和婴孩，哪个不是短暂的存在，如流星贯夜，唯有永恒的规律和璀璨的思想得以长存，在艺术家的作品中亦如诗如画，引人深思。实际上“蜡”这种材料，古代埃及和欧洲中世纪的作品中已经广泛的使用，不仅是作为蜡笔和冷热融化技法出现，而且本身形成的光泽、肌理就有了一种独特性，进而形成了一种宗教绘画特有的样式。德国著名艺术家博伊斯(Joseph Beuys，1921-1986)在作品中也曾经使用过“蜂蜡”，作为一种带有日耳曼传说和西伯利亚萨满意味的物质，也是把蜡本身（结合黄油和蜂蜜）当作材料使用的一位典范。对比而言,卡普尔作品中“蜡”的使用和表达，代表了一种新的方式，对当代艺术的创作者而言，能在自身经验和延展广度上做更深刻和多元的思考，也是值得参考和借鉴的。
《狭板》 太庙艺术馆享殿 拍摄：李标
卡普尔作品媒材中的另一个独特性是“镜面金属”，其中以不锈钢本色的居多，三楼展场中“细胞体”另一侧集中展示的作品方案里也悬挂了一件直径盈米的镜面，而太庙展出的柔美椎体、巨大斧头、凹面镜都属于此类。这种“镜面”本身有一种材料的共性，可以消解创作者的因素，但是通过形式又可以明确表现出艺术家语言的独特性。央美馆三楼的展场中也有一件小的红色镜面雕塑，仿佛种子的形状，流动的弧线和反射出的管灯、白墙、人影和孔洞本身变相得益彰。他最著名的镜面不锈钢金属作品当属芝加哥千年公园的《云门》，“豆子”高33英尺（十米），重110吨，柔和简约的形状在远观时灵动可爱，走到下面又充满了压迫感和不确定性。卡普尔的高明之处是选取的特别样式，加上对布展场域的选择和文化延展，像极了禅宗或东方哲学。实际上这种镜面金属本身都有一种形式的指向和直观的意义，作品本身的形式，静止不动的任何物体又都客观地映在其上，随着作品或直或曲的表面动向，把周遭物体进行了有规律的变形，而现场的任何流动都可以改变作品表象的元素。使我和他者、变与不变、空幻与永恒，甚至更广阔的矛盾元素都得到巧妙的承载和言说，与任何人，任何物都可以关联，形而上地讲，任何关注者的“念力”都可以作用其上。
图片拍摄于太庙艺术馆享殿 拍摄：李标
卡普尔青年时代在以色列学习“机械工程”,经历了1970年代巴以之间连绵的炮火，英国工业建设的如火如荼，以及世界范围内办展览而对社会变迁的思考，使得他作品中“运动”的元素使用得非常巧妙，这不仅在前述的装置作品中有生动的表达，在美术馆三楼的另一个房间中名为《远行》（土、色粉、挖掘机）的作品中更为有趣。我五岁的小儿子远远发现了那辆漂亮的蓝色挖掘机，卡普尔式的经典红色在蓝色的映衬下血腥味道减弱了许多，反而多了些神秘，据说这是他在印度发现了当地的矿物颜料能散发出一种特殊的“内部能量”，这种颜色本身就多了一种动态的意味。当天的挖掘机没有开动，但是完全可以想象它在这片“广袤”的红色上运动起来发出的声音，翻斗升降的机械声，倒下东西的沙沙声，四周观众的好奇声，谈笑声，甚至加上闪光灯的曝光……但这架挖掘机只管专心工作，其体量也不是那种大型机械的破坏感，反而是多了几分童趣和顽皮。或许挖掘之处全是搅拌均匀的红沙，仔细观察你会发现周围还有本色的沙土，不知是施工的痕迹还是艺术家本人有意为之，这件作品呈现了一种卡普尔式的深刻，对历史和真相的执着，对不断掩盖和日渐暴露的隐喻，对时过境迁、亦真亦幻的巧妙表达。展厅中间有一堵墙，从另一个空间看过来又形成了动与不动，在或不在的悖论，结合这个展厅曾经举办过的各种展览，中国社会和世界历史中的各种故事，这辆充满童趣的挖掘机，仿佛希望能挖通楼板，穿过时光隧道，探究其中滋味。
《1000个名字》 太庙艺术馆享殿 拍摄：李标
这场著名的大展就要接近尾声，很多人或许无缘到现场直观感受，所幸作为普通观众可以有一种艺术爱好者和学习者的心态，而不是鉴定者之于真伪，创作者之于语言，策展者之于环境所必须看到原作的要求，完全可以跳脱艺术语言和艺术观念的谱系，去感知思想的延展和深邃，公共意义的触发和蔓延；也不是理论家般的概念评论，史论家般的古今定论，与各位普罗大众一样，和所有不能到现场者一样，以艺术语言为媒介，以文化和思想为线索，借由资料进行研究和思索，这正是美术馆公共美术教育的意义，也是借由艺术进行学习和思考的便利。写这篇文章时，京城的暴雪正在来的路上，央美、太庙都呈现出更加纯洁、朴素和充满了中国味道的风景。这场展览，在这片广大的国土，勤奋的人民和悠久的文化也升华了卡普尔的“艺术哲学”，对观看者个体（无论是在现场还是通过其他文章和资讯）的思想和文化产生了作用，乃至对公共层面产生了非常有价值的对话，这是中国和卡普尔之间的一种积极的意义和历史中的真实。
文 / 谭秦（教育学者/独立艺评人）
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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.
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.
