“誤導(dǎo)”（Disorient）場景一
昨日，09威尼斯雙年展荷蘭國家館開幕，蒙德里安藝術(shù)基金會 （Mondriaan Foundation）委員莎士琪雅•伯絲（Saskia Bos）女士，以及代表荷蘭參展藝術(shù)家Fiona Tan同其他許多來自荷蘭、加大拿、美國、意大利等國的藝術(shù)家、畫廊總監(jiān)、策展人參加了開幕式慶?；顒印?br />
自現(xiàn)在直至11月22日，荷蘭館將展示Fiona Tan的三件視頻裝置。兩件完成于08年的裝置“上升，下降”（"Rise and Fall "）和“來源”（ "Provenance"）將被置于荷蘭館的門前區(qū)域，而荷蘭館入口的名字來自于裝置“誤導(dǎo)”（ "Disorient"），這一裝置是這三個裝置中的集大成者。
an attentive audience watching 'rise and fall'
荷蘭館策展人saskia bos
'disorient' projected
“誤導(dǎo)”（Disorient）場景二
Fiona Tan的作品曾在第十一屆卡塞爾文件節(jié)、橫濱三年展、泰特現(xiàn)代以及紐約新博物館中展出過。“誤導(dǎo)”是她的最新作品，她于其中運用了意大利女作家伊塔洛•卡爾維諾（Italo Calvino）的原文，這段文字講述的是與當(dāng)時仍是世界戰(zhàn)略中心的威尼斯的當(dāng)代邂逅。
這一作品的在開頭將馬可波羅七百年前的描寫同現(xiàn)在的影像相結(jié)合，對馬可波羅游記的引述是唯一的畫外音。Tan將13世紀(jì)的商業(yè)重鎮(zhèn)同愛德華•賽義（Edward Said）的東方文化概念相結(jié)合：西方的無力真正的面對東方的本質(zhì)。她所指的不僅是百年來西方世界對東方形象的片面臆造，也強調(diào)西方應(yīng)當(dāng)發(fā)現(xiàn)更多東方的不同面。她說道：“人們?nèi)狈τ谄渌幕蜕鐣牧私?，也不愿意參與和向其他習(xí)俗、宗教學(xué)習(xí)，如今的情況正同七百年前一樣的可悲。那些舊的東西，即使是被歪曲了，也仍能給予新的東西以意想不到的有價值的見解。那些力量強大的國家常以維護(hù)世界和平的名義反對其他國家和人民，這可以說是一種在新面具偽裝下的殖民侵略。甚至在我們這個時代，正義、常識以及憐憫心常常要給貿(mào)易和經(jīng)濟(jì)利益讓路。(...)我常常努力去想像一個超越了東西方分界甚至對峙的未來。因而我選擇了這個已經(jīng)遺失、并且改動很大的歷史材料來開始我的當(dāng)代藝術(shù)新作。無論是字面意義還是比喻意義，威尼斯都是我的起點和回歸點。”
而此次威尼斯雙年展荷蘭展的總策劃人是藝術(shù)歷史學(xué)家莎士琪雅•伯絲（Saskia Bos）女士，她曾是阿姆斯特丹De Appel基金會藝術(shù)及管理總監(jiān)，自05年起擔(dān)任紐約庫珀藝術(shù)聯(lián)盟主任。她也曾擔(dān)任第三屆雕塑雙年展藝術(shù)及管理總監(jiān)（2003年），第二屆柏林雙年展藝術(shù)及管理總監(jiān)（2001年），以及第二屆圣保羅雙年展荷蘭展總策劃人（1998年）。自從1995年起，威尼斯雙年展荷蘭展的總策劃人一直由阿姆斯特丹蒙德里安藝術(shù)基金會任命。
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fiona
'provenance', 2008
provenance
provenance
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'rise and fall'
provenance
（來源：Artdaily網(wǎng)站，點擊參看原文）
【編輯：Julia】
Art Viewers Taken On A Journey - From Venice's Past to Asia's Contemporary Reality
VENICE.- The Mondriaan Foundation, commissioner Saskia Bos as well as Fiona Tan, the artist representing the Netherlands at this year's Venice Biennale, celebrated the opening of the Dutch pavilion on Thursday June 4 with numerous international artists, gallery directors and curators from e.g. the Netherlands, Canada, the USA or Italy.
From now on until November 22, 2009 the Dutch pavilion will show three video-installations by Fiona Tan. "Rise and Fall " and "Provenance", both from 2008, are shown in the front area of the Dutch pavilion and the exhibition culminates in the audio-visual installation that gave the Dutch entry its name: "Disorient".
For her latest piece, Fiona Tan (*1966), whose works have also been shown at the documenta 11 at Kassel, the Yokohama Triennale in Japan, the London Tate Modern or the New York New Museum, used Italo Calvino's original text for a contemporary encounter with the age in which Venice was a strategic centre of the world. The starting point of this new work was to confront Marco Polo's seven-centuries-old descriptions with images of the present, partly taken from film archives, partly filmed by the artist herself. The voice-over in the installation consists solely of quotes from "The Travels" of Marco Polo. Tan connects the 13th-century mercantile power of Venice to Edward Said's concept of Orientalism: the inability of 'the West' to truly come to grips with the essence of 'the East'. She not only refers to a centuries-old tradition in the West of creating unilateral images of the East, but also emphasises that the West needs to find new bearings. Tan: 'The lack of comprehension of other cultures and societies, the reluctance to engage with and to learn about other customs and other religions is just as pertinent and tragic today as it was seven hundred years ago. The old, even if distorted and skewed, can give unexpected, worthwhile insights into the current and new. The violence of powerful nation states against other countries and peoples in the name of global peace can arguably be called colonial aggression in a new disguise. Even in our times trade and pursuit of economic gain is repeatedly given precedence over justice, common sense and human compassion. (...) I am straining to see and imagine the future beyond the restrictive dichotomy of East and West (one which always implies East versus West). And thus a lost and much altered historical document more than 700 years old is my starting point for a new and contemporary artwork. Venice is - literally and figuratively speaking - my point of departure and return, and this merchant of Venice is my unlikely guide.'
The commissioner of the Dutch presentation in Venice is the art historian Saskia Bos. The former Artistic and Managing Director of De Appel Foundation, Amsterdam, has been Dean of the School of Art of the Cooper Union, New York, since October 2005. She was the Artistic and Managing Director of the 3rd Sculpture Biennale Münsterland (2003) as well as the 2nd Berlin Biennale (2001) and the commissioner of the Dutch entry to the S?o Paulo Biennale (1998). Since 1995 the commissioner is appointed by the Mondriaan Foundation, Amsterdam, that is responsible for the Dutch entries to the Venice Biennale.
（來源：Artdaily網(wǎng)站，點擊參看譯文）
【編輯：Julia】
