艺术史系主任唐娜·布雷特副教授在悉尼当代艺术博物馆的一个新的大型展览中探讨了英国视觉艺术家塔西塔·迪恩的作品，她以电影作品、摄影、绘画和装置闻名。 我第一次看到塔西塔·迪恩的不朽电影作品是一次偶然的机会。 这部2011年的电影在国家涡轮大厅的高空翱翔，是对艺术、自然和时间的一首引人入胜的视觉挽歌。 我的第二次偶然相遇是在2018年，在皇家学院，院长的展览景观正在展出。 在伦敦一个罕见的夏日里，看着长达一个小时的《古董》，我冷静下来，产生了一种奇怪的兴奋感。 巧合和“偶然”的概念推动了超现实主义者的大部分作品从文学转向视觉艺术，也是迪恩艺术过程的中心。 在当代艺术博物馆一个新的大型展览的开幕之夜，迪恩描述了超现实主义的“客观机会”的概念。 tacita dean，炼狱研究（门槛），2020，彩色铅笔在富士天鹅绒纸上，装在纸上，图片由艺术家和弗里斯街画廊提供，伦敦©艺术家。 2014年和2015年，作为盖蒂研究中心的常驻艺术家，她随机指着该中心档案中的一个盒子。 打开盒子，她发现了19世纪法国艺术家奥古斯特·罗丁工作室的钥匙，他以雕塑《思想家》（1904）而闻名。 这次偶然的邂逅开启了一个名为《莫奈恨我》（monet hates me，2021）的大型项目，这是一个装在盒子里的展览，里面有50件物品和反映艺术历史的星历，是在新冠肺炎期间与她的合作者马丁·里奇韦尔（martyn ridgewell）长期封锁期间制作的。 1965年，从罗丹到英国坎特伯雷的丹特伯恩，迪恩的作品涉及电影、摄影、绘画、版画、沉浸式装置，以及最近为皇家歌剧院芭蕾舞团丹特项目创作的布景设计和服装，迪恩在35毫米电影天堂拍摄（2021）。 《天堂》是一部引人入胜、色彩鲜艳的抽象电影，有着优美的配乐，灵感来自丹特·阿利吉的诗歌《神圣的喜剧》（1321）和英国艺术家威廉·布莱克的作品，后者于1824年根据这首诗创作了一系列水彩画插图。 这些画是在布莱克因病去世的两周里从床上画出来的，对这种怪诞有着狂热的迷恋。 塔西塔·迪恩，天堂（电影剧照），2021，音乐，托马斯·阿的《天堂》，35毫米彩色变形胶片，图片由艺术家提供，弗里斯街画廊，伦敦和马里安·古德曼画廊，纽约、巴黎和洛杉矶，©艺术家。 展览中的几件作品形成了与艺术家的对话。 电影《布昂壁画》（2014年）展示了意大利圣弗朗西斯科教堂上部乔托文艺复兴时期壁画的精美细节。 一幅“电影肖像”捕捉到了克莱斯·奥尔登堡在工作室里的画作，他以巨大的日常物品雕塑而闻名，比如衣夹。 《一百五十年的绘画》（2021）埃塞俄比亚裔美国当代画家朱莉·梅赫雷图在去世前不久与99岁的委内瑞拉出生的艺术家卢奇塔·胡塔多交谈。 tacita dean，150年绘画，2021，外景照片，16毫米彩色胶片，光学声音，连续循环，图片由艺术家提供，弗里斯街画廊，伦敦和玛丽安古德曼画廊，纽约，巴黎和洛杉矶，©艺术家。 这两位艺术家出生时正好相隔50年，他们在这里度过了一天，冬日的阳光抚摸着现场，仿佛将一幅静止的画面带到了生活中。 迪恩的电影充满了诗意，充满了对静止和时间的印象，给观众提供了一种深刻的沉思感，与盛夏时节圆形码头的热情形成鲜明对比。 自然与时间贯穿迪恩多产职业生涯的另一个主题是自然与深层时间。 展览中的一个房间展示了两幅大型绘画和一张相互交谈的照片，创造了一种脆弱的节奏，提醒人们所有事物的时间本质。 《粉笔秋天》（2018）和《希望的残骸》（2022），参考了浪漫的德国画家卡斯帕·大卫·弗里德里希，挂在对面的墙上，就像黑板上用粉笔画的雄伟图画。 塔西塔·迪恩，《希望的残骸》，2022，装置视图，澳大利亚当代艺术博物馆，2023年，黑板上的粉笔，图片由艺术家提供，弗里斯街画廊，伦敦和玛丽安古德曼画廊，纽约、巴黎和洛杉矶©艺术家，照片：赞·温伯利。 一个是悬崖面；另一个是正在消退的冰川。 它清楚地提醒我们，我们的环境是脆弱的，不断地受到变化的影响。 时间嵌入了这些绘画中，既体现在以如此大的比例进行细致而费力的绘画过程中，也体现在地质时间的意义上，而地质时间又超出了我们对自身死亡的微弱想象。 在这个画廊的尽头是一张用彩色铅笔绘制的大型照片，照片上是日本山那县一棵2000年前的樱花树。 tacita dean，sakura（jindai ii），2023，装置视图，澳大利亚当代艺术博物馆，2023年，彩色铅笔手绘foma哑光银明胶纸，装在纸上，图片由艺术家和弗里斯街画廊提供，伦敦©艺术家，照片：zan wimberley。 在这幅自然画像中，有一种内在的张力，一方面是用木拐杖支撑这棵树古老的四肢，另一方面是它的花朵在微妙的粉红色天空中以宝石般的威严绽放。 迪恩的电影装置地理传记（2023）以使用模拟电影而闻名，它描述了她有条不紊、物质化的艺术创作方式。 tacita dean，地理传记，2023年，装置视图，商业交易所-皮诺收藏，2023，35mm肖像格式变形胶片三联画，黑白色，无声，图片由皮诺收藏提供，©tadao ando architect&associates，niney et marca architects，agence pierre-antoine gatier，照片：aurélien mole。 迪恩将偶然的相遇、过时的素材和旧的电影片段结合在一起，认为这幅作品是一幅“偶然的自画像”。 伴随着机械般的投影仪噪音，这张在两个屏幕上的电影拼贴画让人着迷地了解了艺术家的生活和艺术创作方式。 迪恩的作品是令人难以置信的劳动密集型作品。 从拍摄乔托在剪式升降机上盘旋的壁画，到绘制冰川的大型复制品，再到编辑无尽的胶卷，这个展览让我们停下来拥抱时间本身的短暂本质。 塔西塔院长在悉尼当代艺术博物馆工作至2024年3月3日。 唐娜·布雷特副教授是艺术史学科的主席。 她是《摄影与地方：1945年后的德国》（routledge 2016）一书的作者，与natalya lusty合著《摄影与本体：令人不安的图像》（routlidge，2019）。 这个故事第一次发表在谈话中。 上图：tacita dean，天堂（电影剧照），2021，音乐，托马斯·阿的paradiso，35毫米彩色变形胶片，图片由艺术家提供，弗里斯街画廊，伦敦和玛丽安古德曼画廊，纽约，巴黎和洛杉矶，©艺术家。 当代艺术博物馆提供的所有图像。associate professor donna brett, chair of art history, explores the work of british visual artist tacita dean - known for her film-works, photography, drawings and installations - in a major new exhibition at sydneys museum of contemporary art.the first time i saw one of tacita dean’s monumental film-works it was by chance. soaring the heights of the tate’s turbine hall, film 2011 was an entrancing visual elegy to art, nature and time.my second chance encounter was in 2018 at the royal academy where dean’s exhibition landscape was on show. cooling off on a rare london summer’s day watching the hour-long antigone i drifted in out of a strange sense of euphoria.the idea of coincidence and “chance” drove much of the surrealists’ work from literature to the visual arts and is also at the centre of dean’s artistic process. at the opening night of a new major exhibition of her work at the museum of contemporary art, dean described the surrealist concept of “objective chance” in action.tacita dean, study for purgatory (threshold), 2020, coloured pencil on fuji velvet paper mounted on paper, image courtesy the artist and frith street gallery, london © the artist.as an artist in residence at the getty research centre across 2014 and 2015, she randomly pointed to a box from the centre’s archive. on opening the box, she found the key to the studio of 19th century french artist auguste rodin, famous for his sculpture the thinker (1904).this chance encounter was the start of an extensive project, monet hates me (2021), an exhibition in a box that contains 50 objects and ephemera that reflect the history of art, produced during one of the long covid-19 lockdowns with her collaborator martyn ridgewell.from rodin to danteborn in canterbury, the united kingdom, in 1965, dean works across film, photography, drawing, printmaking, immersive installations and more recently set designs and costumes created for the dante project, a ballet at the royal opera house, captured by dean in the 35mm film paradise (2021).paradise is a mesmeric, vibrantly coloured abstract film with an exquisite soundtrack, inspired by dante alighieri’s poem the divine comedy (1321) and the work of british artist william blake, who created a series of watercolour illustrations based on the poem in 1824. drawn from his bed during a fortnight of illness that led to blake’s death, the drawings wield a fevered fascination with the grotesque.tacita dean, paradise (film still), 2021, with music, paradiso by thomas adès, 35mm colour anamorphic film, image courtesy the artist, frith street gallery, london and marian goodman gallery, new york, paris and los angeles, © the artist.several works in the exhibition form conversations with artists. the film buon fresco (2014) shows exquisite details of giotto’s renaissance fresco (a wall painting) in the upper basilica of st francis of assisi in italy.one “film portrait” captures claes oldenburg, known for his enormous sculptures of everyday objects such as a clothes-peg, as he drew in his studio.one hundred and fifty years of painting (2021) features ethiopian-american contemporary painter julie mehretu in conversation with the 99-year-old venezuelan-born artist luchita hurtado shortly before her death.tacita dean, one hundred and fifty years of painting, 2021, location photograph, 16mm colour film, optical sound, continuous loop, image courtesy the artist, frith street gallery, london and marian goodman gallery, new york, paris and los angeles, © the artist.born exactly 50 years apart, the two artists are captured here over the course of a day as the winter light caresses the scene as if bringing a still picture to life.dean’s films are poetically charged with impressions of stillness and time offering the viewer a deep sense of contemplation in stark contrast to the fervour of circular quay in the full swing of summer.nature and timeanother theme that runs through dean’s prolific career is nature and deep time.one room in the exhibition features two large-scale drawings and a photograph in conversation with each other to create a fragile rhythm as a reminder of the temporal nature of all things.chalk fall (2018) and the wreck of hope (2022), referencing the romantic german painter caspar david friedrich, hang on opposing walls, as majestic drawings in chalk on blackboards.tacita dean, the wreck of hope, 2022, installation view, museum of contemporary art australia, 2023, chalk on blackboard, image courtesy the artist, frith street gallery, london and marian goodman gallery, new york, paris and los angeles © the artist, photograph: zan wimberley.one features a cliff face; the other a receding glacier. it is a stark reminder of our fragile environment, constantly subject to change. time is embedded in these drawings both in the meticulous, laborious processes of drawing at such a scale, and in the sense of geological time that sits outside the feeble imaginings of our own mortality.at the end of this gallery is a large, evocative photograph overdrawn in colour pencil, featuring a 2,000-year-old cherry blossom tree in the japanese prefecture of yamanashi.tacita dean, sakura (jindai ii), 202 3 , installation view, museum of contemporary art australia, 2023, coloured pencil on hand - printed foma matte silver gelatin paper mounted on paper, image courtesy the artist and frith street gallery, london © the artist, photograph: zan wimberley.there is an inherent tension in this nature-portrait between the efforts to support the tree’s ancient limbs with wooden crutches, and the persistence of its blossoms that sweep up in a jewel-like majesty against the subtle pink sky.known for using analogue film, dean’s film installation geography biography (2023) characterises her methodical, material approach to artmaking.tacita dean, geography biography, 2023, installation view, bourse de commerce - pinault collection, 2023, 35mm portrait format anamorphic film diptych, colour with black and white, silent, image courtesy pinault collection, © tadao ando architect & associates, niney et marca architectes, agence pierre - antoine gatier, photograph: aurélien mole.bringing together chance encounters, obsolete materials and old film footage, dean considers this work to be an “accidental self-portrait”. accompanied only by the machinic projector noise, this filmic collage over two screens provides a mesmerising insight into the artist’s life and ways of making art.dean’s works are incredibly labour intensive. from filming the frescoes of giotto hovering on a scissor lift or drawing large-scale renditions of glaciers, to editing endless rolls of film, this exhibition gives us pause to embrace the ephemeral nature of time itself.tacita dean is at the museum of contemporary art, sydney, until 3 march, 2024.associate professor donna brett is chair of the discipline of art history. she is the author of photography and place: seeing and not seeing germany after 1945 (routledge 2016), and co-editor with natalya lusty of photography and ontology: unsettling images (routledge, 2019). this story was first published in the conversation. top image: tacita dean, paradise (film still), 2021, with music, paradiso by thomas adès, 35mm colour anamorphic film, image courtesy the artist, frith street gallery, london and marian goodman gallery, new york, paris and los angeles, © the artist. all images supplied by the museum of contemporary art.本文来源： MCA展示Tacita Dean充满诗意的艺术
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