瑞士艺术家罗曼·席格纳个展-阿尔高美术馆
阿尔高美术馆（Aargauer Kunsthaus）为瑞士艺术家罗曼·席格纳（Roman Signer）举办专题个展
来源：Artdaily
编译：顾灵
阿劳报道.阿尔高美术馆（The Aargauer Kunsthaus）新年里的首轮个展邀请了国际知名的瑞士艺术家罗曼·席格纳（Roman Signer）。该主题展旨在向更多公众介绍席格纳创作于2011年的《街景》（Strassenbilder）摄影系列。这一摄影系列作品将于36件超级八录像投影同台呈现，后者由席格纳创作于1975-1989年间，大多为行为记录的杰出之作。
36幕超级八录像的布展策划：与美术馆的传统布展相似，投影屏幕挨个平行。为了保障每件投影都得以全面伸展，场馆中所有可移动的墙面都被移走。这些互相平行的投影幕墙分散在600m[sup]2[/sup]的展厅中，让观众得以将全部超级八影片尽收眼底。
罗曼·席格纳的行为——艺术家口中的“事件”——自然都是转瞬即逝，录像将之记录下来，转化成视像。早年录像机还未被发明、数字技术尚未起步时，艺术家采用超级八进行录像。绝大多数其表演性作品的影像记录都是用超级八完成的。尽管它们都十分简短，只是聚焦于正在发生的事件，但这丝毫不减事件的感染力与观众的反应。而恰恰是这些独立镜头与微妙摆位凸显了其表演行为的实质。如果艺术家本人出现在影片中——这对席格纳而言很常见，他往往并非主角，而不过是勉强充当事件的调解人。只有录像，没有声音，由此只记录下了事件的视觉层面，由此变身为“时间雕塑”（ephemeral sculptures）。自从上世纪1970年代以来，席格纳的艺术创作逐渐形成了一种重过程、去材料的雕塑观。阿尔高美术馆与席格纳精诚合作，在展厅中呈现了一连组超级八录像投影，从纯粹纪录到变身为独立的艺术作品。
与录像投影同台展出的是由47张照片组成的摄影系列《街景》（Strassenbilder）。为了保持展览节奏的紧凑，展厅将《街景》摄影系列与超级八录像投影都设在了一楼，互相加强、互为凸显。从街道景色到投影，无数照片独立看来更像是分散的点，织成一张欣赏席格纳作品的另类视角网：其分析观察及对因果连续的表达。《街景》由两个分系列组成，分别有23张与24张照片，每一张呈现的风景都或多或少地存有相似，它们扑捉下席格纳的东欧之旅：从喀尔巴阡山脉、乌克兰与罗马尼亚，一边是售卖果蔬的临时店铺，另一边是对伤亡的纪念。在两个分系列中，一组是人们对将家中自留地的收获推到市场上的热切期望，另一组将丧失所爱之人的痛楚呈现为几乎可触的形状。撇开其寻常的视觉与随机的属性外，席格纳的摄影——尤其以系列的形式——将这些日常情景渲染为具有高度美感的装置。
阿尔高美术馆有幸能为罗曼·席格纳——这位举世闻名的瑞士艺术家举行国宝级的回顾个展。这一系列超级八录像投影让人们以特别的视角来欣赏其表演性的行为。与此同时，《街景》的相邻展出也将呈现席格纳的另一种创作手法，打开其创作意涵的新层面。
结束了建筑绘图员的学徒生涯后，罗曼·席格纳(1938年出生于瑞士Appenzell)于1966年前往苏黎世设计学院（Schule für Gestaltung)就读，并于1969-1971前往卢塞恩设计学院（the Schule für Gestaltung in Lucerne）深造，其后前往华沙美术学院进行了为期一年的艺术进修。自1971年起，罗曼·席格纳作为一名独立自由艺术家生活并工作在圣加伦。自1974-1995年，他在卢塞恩设计学院任教。自1972年起，席格纳参加了国内外无数展览。今年的部分个展包括：Roman Signer –Acht Stühle (Ocho sillas), Sala de Arte Público Siqueiros (SAPS), Mexico City, 2011; Roman Signer – Four Rooms, One Artist, Swiss Institute, New York, 2010; Roman Signer. Projections, Helmhaus Zurich, Zurich, 2008; Roman Signer – Reisefotos, Aargauer Kunsthaus, Aarau, 2006.
AARAU.- The Aargauer Kunsthaus kicks off the new year with a large one man exhibition of internationally renowned Swiss artist Roman Signer. The idea for this monographic exhibition at the Aargauer Kunsthaus arose from a desire to introduce a wider public to the artist’s photo series Street Views, which was acquired in 2011. The photographs of this series are juxtaposed with thirty-six projections of super 8 films that Roman Signer made between 1975 and 1989 to document actions, in most cases quite spectacular ones.
The exhibition stands out for the way in which the projections of the thirty-six super 8 films are orchestrated: following traditional ways of mounting pictures in museums, the projected films are shown side by side. In order to allow this expansive mode of presentation, almost all movable exhibition walls on the ground floor of the museum’s extension building were removed. The parallel arrangement of the projections in a single large exhibition gallery with over 600 m2 floor space provides visitors with an opportunity for a comprehensive and comparative viewing of Signer’s super 8 films.
Roman Signer’s actions – the artist himself refers to them as “events” – are ephemeral in nature, virtually demanding to be captured on film. Early on, before the video camera and before digital recording, the artist therefore started using super 8 technology. Among the most important documents that make his performative work accessible, the super 8 films encapsulate Signer’s early work. Although short and focused on the main events, the films do not simply cater to viewer’s media-conditioned curiosity for the moment of shock or surprise. Rather, the individual shots and subtle stagings emphasize the situational nature of the performative act. If the artist himself appears in a film – as happens quite often – , he is shown not as a protagonist, but as a mere facilitator of the events conceived. Recorded without sound, the films convey only the visual aspect of the events, thus pointing to their potential as ephemeral sculptures. Ever since the 1970s, Signer’s artistic oeuvre has been informed by a concept of sculpture as process-like and de-materialized. Close collaboration with Roman Signer has resulted in an impressive array of film projections at the Aargauer Kunsthaus, in which the super 8 films transcend their documentary character, becoming works of art in their own right.
Constituting a counterpoint to the filmic works is the 47-part photo series Strassenbilder (Street Views), likewise shown on the ground floor. Being more self-contained, the galleries devoted to the Strassenbilder photographs reinforce the sense of compactness that characterises the presentation of the super 8 films. While taking up the scenographical approach of the film projections, the numerous photographs point to yet another aspect of Signer’s work: analytical observation and its presentation in a coherent sequence. The work Strassenbilder consists of two series of 23 and 24 photographs that each present familiar sights encountered when driving through rural regions of Eastern Europe: makeshift stalls selling fruit and vegetables on the one hand and memorials commemorating road casualties on the other. Signer took these serial images of similar subjects during travels through the Carpathians, the Ukraine and Romania. In both series, the needs of individuals either to market the produce from their own garden or to express the pain suffered through the loss of a loved one take on a physical shape. In spite of their unspectacular look and random nature, Signer’s photographs – particularly in their serial form – render these everyday arrangements as installations of high aesthetic quality.
In devoting an exhibition to Roman Signer, the Aargauer Kunsthaus honors a renowned Swiss artist, paying tribute to his work on a national level. The unexpected presentation of Signer’s super 8 films allows for a focused look at his performative work. At the same time, as a result of their juxtaposition with the photos series Strassenbilder, the super 8 films present themselves within the expanded framework of Roman Signer’s artistic oeuvre, opening up new levels of meaning and bringing home to the visiting public the status of the films as works of art in their own right, rather than mere documents of actions.
Following an apprenticeship as an architectural draughtsman, Roman Signer (b. in Appenzell in 1938) attended the Schule für Gestaltung (School of Design) in Zurich in 1966 and, from 1969 until 1971, the Schule für Gestaltung in Lucerne (School of Design), topping off his art education with a year abroad in Warsaw, where he attended the Academy of Fine Arts. Since 1971, Roman Signer has been living and working as a freelance artist in St. Gallen. From 1974 until 1995 he taught at the Lucerne School of Design. Starting in 1972, Signer participated in numerous exhibitions at home and abroad. Selected solo exhibitions in recent years: Roman Signer –Acht Stühle (Ocho sillas), Sala de Arte Público Siqueiros (SAPS), Mexico City, 2011; Roman Signer – Four Rooms, One Artist, Swiss Institute, New York, 2010; Roman Signer. Projections, Helmhaus Zurich, Zurich, 2008; Roman Signer – Reisefotos, Aargauer Kunsthaus, Aarau, 2006.
来源：Artdaily
编译：顾灵
阿劳报道.阿尔高美术馆（The Aargauer Kunsthaus）新年里的首轮个展邀请了国际知名的瑞士艺术家罗曼·席格纳（Roman Signer）。该主题展旨在向更多公众介绍席格纳创作于2011年的《街景》（Strassenbilder）摄影系列。这一摄影系列作品将于36件超级八录像投影同台呈现，后者由席格纳创作于1975-1989年间，大多为行为记录的杰出之作。
36幕超级八录像的布展策划：与美术馆的传统布展相似，投影屏幕挨个平行。为了保障每件投影都得以全面伸展，场馆中所有可移动的墙面都被移走。这些互相平行的投影幕墙分散在600m[sup]2[/sup]的展厅中，让观众得以将全部超级八影片尽收眼底。
罗曼·席格纳的行为——艺术家口中的“事件”——自然都是转瞬即逝，录像将之记录下来，转化成视像。早年录像机还未被发明、数字技术尚未起步时，艺术家采用超级八进行录像。绝大多数其表演性作品的影像记录都是用超级八完成的。尽管它们都十分简短，只是聚焦于正在发生的事件，但这丝毫不减事件的感染力与观众的反应。而恰恰是这些独立镜头与微妙摆位凸显了其表演行为的实质。如果艺术家本人出现在影片中——这对席格纳而言很常见，他往往并非主角，而不过是勉强充当事件的调解人。只有录像，没有声音，由此只记录下了事件的视觉层面，由此变身为“时间雕塑”（ephemeral sculptures）。自从上世纪1970年代以来，席格纳的艺术创作逐渐形成了一种重过程、去材料的雕塑观。阿尔高美术馆与席格纳精诚合作，在展厅中呈现了一连组超级八录像投影，从纯粹纪录到变身为独立的艺术作品。
与录像投影同台展出的是由47张照片组成的摄影系列《街景》（Strassenbilder）。为了保持展览节奏的紧凑，展厅将《街景》摄影系列与超级八录像投影都设在了一楼，互相加强、互为凸显。从街道景色到投影，无数照片独立看来更像是分散的点，织成一张欣赏席格纳作品的另类视角网：其分析观察及对因果连续的表达。《街景》由两个分系列组成，分别有23张与24张照片，每一张呈现的风景都或多或少地存有相似，它们扑捉下席格纳的东欧之旅：从喀尔巴阡山脉、乌克兰与罗马尼亚，一边是售卖果蔬的临时店铺，另一边是对伤亡的纪念。在两个分系列中，一组是人们对将家中自留地的收获推到市场上的热切期望，另一组将丧失所爱之人的痛楚呈现为几乎可触的形状。撇开其寻常的视觉与随机的属性外，席格纳的摄影——尤其以系列的形式——将这些日常情景渲染为具有高度美感的装置。
阿尔高美术馆有幸能为罗曼·席格纳——这位举世闻名的瑞士艺术家举行国宝级的回顾个展。这一系列超级八录像投影让人们以特别的视角来欣赏其表演性的行为。与此同时，《街景》的相邻展出也将呈现席格纳的另一种创作手法，打开其创作意涵的新层面。
结束了建筑绘图员的学徒生涯后，罗曼·席格纳(1938年出生于瑞士Appenzell)于1966年前往苏黎世设计学院（Schule für Gestaltung)就读，并于1969-1971前往卢塞恩设计学院（the Schule für Gestaltung in Lucerne）深造，其后前往华沙美术学院进行了为期一年的艺术进修。自1971年起，罗曼·席格纳作为一名独立自由艺术家生活并工作在圣加伦。自1974-1995年，他在卢塞恩设计学院任教。自1972年起，席格纳参加了国内外无数展览。今年的部分个展包括：Roman Signer –Acht Stühle (Ocho sillas), Sala de Arte Público Siqueiros (SAPS), Mexico City, 2011; Roman Signer – Four Rooms, One Artist, Swiss Institute, New York, 2010; Roman Signer. Projections, Helmhaus Zurich, Zurich, 2008; Roman Signer – Reisefotos, Aargauer Kunsthaus, Aarau, 2006.
AARAU.- The Aargauer Kunsthaus kicks off the new year with a large one man exhibition of internationally renowned Swiss artist Roman Signer. The idea for this monographic exhibition at the Aargauer Kunsthaus arose from a desire to introduce a wider public to the artist’s photo series Street Views, which was acquired in 2011. The photographs of this series are juxtaposed with thirty-six projections of super 8 films that Roman Signer made between 1975 and 1989 to document actions, in most cases quite spectacular ones.
The exhibition stands out for the way in which the projections of the thirty-six super 8 films are orchestrated: following traditional ways of mounting pictures in museums, the projected films are shown side by side. In order to allow this expansive mode of presentation, almost all movable exhibition walls on the ground floor of the museum’s extension building were removed. The parallel arrangement of the projections in a single large exhibition gallery with over 600 m2 floor space provides visitors with an opportunity for a comprehensive and comparative viewing of Signer’s super 8 films.
Roman Signer’s actions – the artist himself refers to them as “events” – are ephemeral in nature, virtually demanding to be captured on film. Early on, before the video camera and before digital recording, the artist therefore started using super 8 technology. Among the most important documents that make his performative work accessible, the super 8 films encapsulate Signer’s early work. Although short and focused on the main events, the films do not simply cater to viewer’s media-conditioned curiosity for the moment of shock or surprise. Rather, the individual shots and subtle stagings emphasize the situational nature of the performative act. If the artist himself appears in a film – as happens quite often – , he is shown not as a protagonist, but as a mere facilitator of the events conceived. Recorded without sound, the films convey only the visual aspect of the events, thus pointing to their potential as ephemeral sculptures. Ever since the 1970s, Signer’s artistic oeuvre has been informed by a concept of sculpture as process-like and de-materialized. Close collaboration with Roman Signer has resulted in an impressive array of film projections at the Aargauer Kunsthaus, in which the super 8 films transcend their documentary character, becoming works of art in their own right.
Constituting a counterpoint to the filmic works is the 47-part photo series Strassenbilder (Street Views), likewise shown on the ground floor. Being more self-contained, the galleries devoted to the Strassenbilder photographs reinforce the sense of compactness that characterises the presentation of the super 8 films. While taking up the scenographical approach of the film projections, the numerous photographs point to yet another aspect of Signer’s work: analytical observation and its presentation in a coherent sequence. The work Strassenbilder consists of two series of 23 and 24 photographs that each present familiar sights encountered when driving through rural regions of Eastern Europe: makeshift stalls selling fruit and vegetables on the one hand and memorials commemorating road casualties on the other. Signer took these serial images of similar subjects during travels through the Carpathians, the Ukraine and Romania. In both series, the needs of individuals either to market the produce from their own garden or to express the pain suffered through the loss of a loved one take on a physical shape. In spite of their unspectacular look and random nature, Signer’s photographs – particularly in their serial form – render these everyday arrangements as installations of high aesthetic quality.
In devoting an exhibition to Roman Signer, the Aargauer Kunsthaus honors a renowned Swiss artist, paying tribute to his work on a national level. The unexpected presentation of Signer’s super 8 films allows for a focused look at his performative work. At the same time, as a result of their juxtaposition with the photos series Strassenbilder, the super 8 films present themselves within the expanded framework of Roman Signer’s artistic oeuvre, opening up new levels of meaning and bringing home to the visiting public the status of the films as works of art in their own right, rather than mere documents of actions.
Following an apprenticeship as an architectural draughtsman, Roman Signer (b. in Appenzell in 1938) attended the Schule für Gestaltung (School of Design) in Zurich in 1966 and, from 1969 until 1971, the Schule für Gestaltung in Lucerne (School of Design), topping off his art education with a year abroad in Warsaw, where he attended the Academy of Fine Arts. Since 1971, Roman Signer has been living and working as a freelance artist in St. Gallen. From 1974 until 1995 he taught at the Lucerne School of Design. Starting in 1972, Signer participated in numerous exhibitions at home and abroad. Selected solo exhibitions in recent years: Roman Signer –Acht Stühle (Ocho sillas), Sala de Arte Público Siqueiros (SAPS), Mexico City, 2011; Roman Signer – Four Rooms, One Artist, Swiss Institute, New York, 2010; Roman Signer. Projections, Helmhaus Zurich, Zurich, 2008; Roman Signer – Reisefotos, Aargauer Kunsthaus, Aarau, 2006.
