藝術與時裝界的抄襲事件不算什麼新鮮現象,致敬與複製、原創與偽造的界線也變得模糊。近季時裝界不少設計師都愛重新複製時裝屋的 archive,重新推出設計以吸引新一代的觀眾。但是究竟有何原因構成這些複製、重新演繹的創作?模仿的手法會提升原創作品的價值,甚至超越它原本的意義嗎?
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意大利藝術家 Maurizio Cattelan 上周在上海余德耀美術館策展 “The Artist is Present”,由Alessandro Michele 帶領的 Gucci 贊助,以一句大膽的聲明解答以上的問題:
“I copy therefore I am.”
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展覽雲集逾 30 位中外藝術家,以裝置藝術、雕塑和多媒體藝術品的形式,探究複製、模仿或者是致敬行為的價值。事實上,如今已經沒有任何事物可真正保持擁有 100% 的原創性,複製概念就是代表新時代創作不可或缺的工具。
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Kapwani Kiwanga
pink-blue, 2017
Courtesy of the artist and galerie Jérôme Poggi, Paris / Goodman gallery, Johannesburg and Cape Town / Tanja Wagner gallery, Berlin
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Maurizio Cattelan
Untitled, 2018
Courtesy of the artist
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Superflex
Power Toilets/Council of the European Union, 2018
Power Toilets / Council of the European Union is designed in close collaboration with NEZU AYMO architects
Courtesy of the artist
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The Artist is Present, Shanghai 2018 Exhibition View
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Andy Hung Chi-Kin (LEGO Certified Professional)
Gucci Sylvie bag made with LEGO bricks
Courtesy of Gucci
複製就像褻瀆神靈的行為:它看上去似有不尊重上帝的嫌疑,但同時也是對他的存在的有意識的表達。
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The Artist is Present, Shanghai 2018 Exhibition View
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Ragnar Kjartansson
My great, great, grandmother’s song (for China), 2018
Performance
Courtesy of the artist and Luhring Augustine
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Ragnar Kjartansson
My great, great, grandmother’s song (for China), 2018
Performance
Courtesy of the artist and Luhring Augustine
The Artist is Present
余德耀美術館
中國上海豐谷路35號
Oct 11 – Dec 16, 10am – 9pm(星期一閉館)
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