《這里，那里，和任何地方》藝術展藝術是不需要翻譯的語言，是最好的交流

楊燕

7月11日，一場以《這里，那里，和任何地方》為主題的藝術展，在重慶黃桷坪官家林190號開幕，這是九龍坡藝術片區今年首場國外藝術家個人作品展。

受新冠肺炎疫情影響，此次展覽的主角日本藝術家小野田賢三先生無法來到開幕現場，但這絲毫沒有影響現場的人氣，重慶的藝術家、學生及附近居民都加入進來，觀看人數超出預期，達到近百人。

疫情下 藝術不會缺席

展覽開幕當晚，遠在日本的小野田賢三通過網絡觀看了現場情況，他感到激動、驚喜和遺憾，激動源于展覽呈現出來了，驚喜源于竟然來了這么多觀眾，遺憾沒能親自到現場和觀眾交流。

“全球藝術機構的海外合作目前都處于擱置狀態，原本豐富的展出計劃也不同程度地受到影響?！敝貞c十方藝術中心總監曾途表示，受疫情影響，各國原計劃開展的藝博會、重要展覽相繼受阻，多國博物館仍處在關閉期，跨境藝術合作更是遇到難題。

曾途稱，此次疫情給藝術行業帶來的影響還會持續一段時間，但藝術是國際化的語言，是最容易溝通的語言，也是不需要翻譯的語言，“藝術就是加深理解、消除誤會的橋梁。面對疫情，更期待國際間的藝術交流合作早日重啟?！?/p>

策展人胡燕子表示，重慶這座城市本身具有比較鮮明的特點，景觀魔幻、城鄉交融，猶如社會場景的縮影，是藝術家們開展在地實踐的絕佳場域，“當疫情阻隔了交流，也許我們應該投入更多的時間，對日常生活現場進行深耕。”

用藝術關照現實和心靈

疫情之下，全球很多藝術家都嘗試用藝術形式來表達自己的關注。小野田賢三也沒有停下創作的腳步。

1961年出生的小野田賢三，是日本現代化進程的親歷者和見證者。小野田賢三作為一名物理工程師，從網絡工作延展到藝術創作進而成為職業藝術家已有30年，他一直嘗試將技術與藝術相結合，持續探索當代藝術，其作品曾活躍于德國杜塞爾多夫·北萊茵威斯特法倫州立美術館、日本越后妻有大地藝術祭三年展等各大展館和展覽。

在小野田賢三《蝴蝶、斑馬、月光和童話故事》作品中，代表穩定的椅子與其腳底部的五彩玻璃球構成微妙的平衡關系，玻璃珠的出現改變了原有物體的平衡，使展廳的力學磁場處在一種微妙的互相制約之間。觀展時，作品體現的平衡關系屢次被“破壞”，又被外力介入還原，正如新冠疫情下的全球，沖擊之后必將達到新的平衡。

小野田賢三的這組作品，讓可見的現實和橫亙在深處無法窺視的現實都鮮活地浮現出來，觸及人心，讓觀眾產生更多聯想，引起共鳴。

藝術家無法到場，展覽如何得以實現？

胡燕子介紹，“6月初，國內的很多藝術機構逐漸恢復對外開放。我和小野田賢三溝通調整了展覽方案，既然本次展覽是回應全球現實，那么就應該尊重展覽所處社會環境的客觀現實。雖然國外很多地方的疫情還在發生，但是中國國內的疫情已得到較好控制，公眾需要有品質的文化藝術活動來豐富文化生活。盡管藝術家無法來到展覽現場，但他的作品抵達了展覽現場，借由藝術實現了思想上的行動?！焙嘧诱f，當然，藝術家的不在場和觀眾的在場，都構成了關于時間與空間上“關系”的再創作，“這正是展覽最有意思的地方?！?/p>

On July 11， an art exhibition themed “Here， There， and Anywhere” opened at No.190 Guanjialin， Huangjueping， Chongqing. This is the first individual exhibition of foreign artists in the Jiulongpo art area this year.

Affected by the COVID-19 epidemic， the protagonist of this exhibition， Japanese artist Kenzo Onoda， was unable to come in person， but this did not dampen the enthusiasm of visitors at all as artists， students， and residents in the neighborhood of Chongqing flocked in， registering nearly 100 in number and exceeding the expectation.

Art is not absent during pandemic

On the opening night of the exhibition， Kenzo Onoda watched the Internet streaming in Japan. Thrilled by the exhibition and surprised by the large crowd， he regretted that he couldnt come in person and talk to the audience.

"The overseas cooperation of global art institutions is currently on hold， and the originally rich exhibition plans have also been frustrated to varying degrees." Zeng Tu， Art Director of Dimensions Art Center said that affected by the epidemic， art fairs and major exhibitions originally planned in various countries are tabled. Museums of many countries are still closed， and cross-border art cooperation encounters headwinds.

Zeng Tu added that the impact of the epidemic on the art industry will continue for a while， but as an international language and the easiest language to communicate， art is also a language requiring zero translation. “Art is a bridge to deepen understanding and eliminate misunderstandings”. International art exchanges and cooperation， therefore， expects a restart.

Curator Hu Yanzi said that the city of Chongqing itself has quite distinctive characteristics. Epitomizing the entire Chinese society with surrealistic landscape and integrated urban and rural areas， it is an excellent field for artists to carry out in-situ practice. "When the epidemic blocks communication， perhaps it is time for us to devote more time to our daily life scene."

Caring for reality and soul with arts

Amid the epidemic， many artists around the world attempt to express their concerns in art forms. Kenzo Onoda has not stopped his creation.

Kenzo Onoda， born in 1961， is a witness of Japan's modernization process. As a physics engineer， Onoda extended his network work to artistic creation and then became a professional artist for the past three decades. He has been trying to combine technology with art and continues to explore contemporary art. His works were collected by galleries and exhibitions such as Kunstsammlung Nordrhein-Westfalen and Echigo Tsumari Art Festival Triennale， etc.

In the works of Butterfly， Zebra， Moonlight and Fairy Tale， the "chair" representing "stability" and the multicolored "glass marble" at its bottom form a delicate equilibrium in the exhibition hall. The appearance of glass marble changes the equilibrium of the original objects， so that the mechanical magnetic field of the exhibition hall is in a subtle mutual restriction. When attending the exhibition， the balance is repeatedly destroyed and restored by the intervention of external forces just like the world under the impact of COVID-19 epidemic. A new equilibrium will be struck after the impact.

Kenzo Onoda's series of works bring realities， visible or abysmal， to the surface，? reaches out to the bottom of peoples hearts and evokes more resonance from the audience.

How can the exhibition be realized if the artist is absent？

Hu Yanzi introduced， "In early June， many art institutions in China gradually re-opened to the outside world. Kenzo Onoda and I communicated and adjusted the exhibition plan. Since this exhibition is a response to global reality， we should respect the objective reality of the social environment in which the exhibition is located. Although the epidemic is still rampant in many places abroad， its well controlled in China， and the public needs quality cultural and artistic activities to enrich their cultural life. "Hu explained that although the artist could not come to the exhibition in person， he arrived at the site via his works， and attained spiritual "freedom" through "art". Of course， the absence of the artist and the presence of the audience constitute a re-creation of the "relationship" between time and space. This is the most intriguing part of the exhibition.