木木美术馆荣幸地宣布将于2016年08月06日-2017年1月07日举办波普艺术大师安迪·沃霍尔展览——《安迪·沃霍尔：接触》，展览由木木美术馆展览总监 Presca Ahn 策展，将呈现这位二十世纪最具影响力的艺术家一系列开创性、具有划时代意义的影像、摄影及互动装置作品。此次展览也将开启未来三年木木美术馆的一系列重要专题展览。感谢芬兰专业净化器品牌LIFAair对本次展览的冠名支持，以及独家媒体合作伙伴T Magazine、战略合作伙伴HUBLOT宇舶表、战略合作伙伴NUO诺金、独家出行方式平台Uber优步对本次展览的鼎力支持。

M WOODS is pleased to announce Andy Warhol: Contact, an exhibition of groundbreaking film, photography, and interactive installations by one of the twentieth century’s most influential artists. Curated by M WOODS Director Presca Ahn, it is the first in a series of major solo exhibitions planned at the museum over the next three years. Andy Warhol: Contact is chiefly supported by air purifer manufacturers LIFAair, with sponsorships and media support from Hublot, NUO Hotel, UBER, and T Magazine.

《安迪·沃霍尔：接触》将首次以沃霍尔作品中的机械生产方式和实验性为中心，为中国观众呈现安迪·沃霍尔打破艺术边界的摄影、装置、影像等多个系列作品。在沃霍尔所处的时代，这些以当时新媒介进行的创作曾打破当代艺术的边界，直至今日，仍以其卓越的即时性、直接性持续冲击、感染着当下的观众。

The first exhibition in China to focus on the experimental, mechanically produced areas of Warhol's practice, Andy Warhol: Contact features photographs, installations, and films that broke the boundaries of contemporary art when they were first made, and still compel viewers today with their extraordinary immediacy.

沃霍尔用相机和其他创作方式阐释着一个被忽视的主题，既人类在时间的长河面前的转瞬即逝。从他1960年间的极简电影到他短暂的装置作品创作再到宝丽来肖像照，这些作品的技术手段使沃霍尔对时间之于艺术家与主题之间的关系进行着探索。

Made by Warhol using cameras and other machines, the works illuminate an overlooked theme in Warhol's famed body of work: human evanescence in the face of time. From his minimalist films of the 1960s to his ephemeral installations to his instant film portraits on Polaroid, these works' technical means of production enable distinctly Warholian explorations of time in relation to both subject and artist.

 

展览中将展出一组沃霍尔在20世纪六十年代创作的名为《试镜》的默片肖像系列以及七十至八十年代用宝丽来拍摄的照片。《试镜》系列的名字取自电影选角时通常会拍摄的短片，记录了众多艺术家、名流以及沃霍尔工作室兼社交据点“工厂”的常客，包括马塞尔·杜尚、鲍伯·迪伦、萨尔瓦多·达利、卢·里德、艾迪·塞奇威克等。

The silent film portraits from the 1960s that he collectively called the Screen Tests, and his portraits of himself and others that he shot on Polaroid film throughout the 1970s and ‘80s. Taking their name from the short films typically made of actors auditioning for film roles, the Screen Tests portray a wide range of artists, celebrities, and Factory regulars such as Marcel Duchamp, Bob Dylan, Salvador Dali, Lou Reed, and Edie Sedgwick.

宝丽来照片系列更像是沃霍尔制作的他自己以及他的社交圈的文件编档，沃霍尔对这种日记般地记录自己和周围社交圈的热衷，远远早于互联网时代和社交媒体带来的“自拍”潮流。展出作品包括如约翰·列侬、西尔维斯特·史泰龙、穆罕默德·阿里、罗伯特·劳森伯格等众多艺术家和各界名流的宝丽来相片。尽管《试镜》系列与宝丽来照片将人像摄影变得充满瞬时性，但不论所拍摄的对象是否有名，是否仍然在世，这两个系列的作品在现在都是纪录过去的重要文件。

With the Polaroids, Warhol enacted an obsessive, diaristic documentation of himself and those in his circle, capturing them in time with the most instantaneous medium then available. Having brought new heights of instantaneousness to the genre of portraiture when they were created, the Screen Tests and Polaroids now also serve as documents of the past, whether their subjects are famous or obscure, still living or now dead.

 

此外，沃霍尔1963年的影像作品《吻》也将在《安迪·沃霍尔：接触》展出。影片拍摄一对对恋人在镜头前接吻的行为，相比接吻这一亲密行为，给人带来强烈冲击感的是，一系列的接吻镜头被连续地剪辑在一起，以及镜头极度靠近拍摄对象而产生的侵略感。《吻》这一作品证明了沃霍尔对于影像媒介的兴趣不止于对名流和自己的记录，而是以冷静的人类学视角，将观者推向对人类感情的经典表达的深思。

M WOODS will also screen Warhol’s radical underground film Kiss (1963), which shows multiple couples, one after the other, kissing for minutes on end. Like other Warhol films of this period such as Sleep, Eat, and Empire, Kiss is an experiment in minimalist, durational cinema. Its serial format and intrusive framing contrast starkly with the intimacy of the acts portrayed; presented without context or narrative, the “actors” in Kiss are the opposite of romantic film stars. Rejecting the cinematic conventions of personality-driven characters and narrative-driven time, Kiss forces a cold, anthropological contemplation of this classic expression of human passion, questioning what it means truly to make contact.

这次展览的另一个亮点是沃霍尔的装置作品《银云》，荧光的、枕头一样的作品轻轻漂浮在展览空间中。这件作品1966年初次在纽约的里奥·卡斯特里画廊展出，观众可以随意触碰、在这些云朵中移动，成为最早将沉浸式的互动的理念引入艺术装置的作品。

A highlight of the show is an installation of Warhol’s Silver Clouds, glimmering pillow-like shapes that float gently through the exhibition space. When the work was first shown at New York’s Leo Castelli Gallery in 1966, viewers were free to touch and move among the Clouds, making the work one of the earliest examples of an immersive, interactive art installation.

 

“在这些作品中，沃霍尔以机器生产的方式和固定的重复形式削弱了由艺术家之手施加于作品的痕迹。”Presca Ahn评论道，“尽管如此，这些作品却流露出一种非常人性的、个人化的，甚至是诗意的特质，这种平衡与张力使得作品时至今日仍如此引人入胜。”

The works in Andy Warhol: Contact reflect dialectics that animated Warhol's wider career: between the personal and impersonal, fame and anonymity, slowed-down time and the fleeting instant, remoteness and contact. “In all these works, Warhol minimized the touch of the artist’s hand by using mechanical production and a standardized or repetitive format,” said Ahn. “Despite this, many of them radiate a very human, personal quality, and they have a pathos or an energy that transcends the technical or automatic character of the medium. This tension is what makes the works so arresting, even now.”