独舞者

GET READY TO GO BACK: The Fifty-fourth Venice Biennale, titled “ILLUMInations,” promises a historical and aesthetic return to the tenets of the Enlightenment—and even the Renaissance—when it opens on June 1. Curator BICE CURIGER will revisit classical ideas of clarity, knowledge, politics, and vision via works by eighty-two contemporary artists and three paintings by native son Tintoretto. Artforum editor MICHELLE KUO met with Curiger—director of Kunsthaus Zürich, a founder of the journal Parkett, and organizer of major shows such as “The Expanded Eye”—to talk about the forthcoming Biennale and its reexamination of Western modernity on a global stage.

MICHELLE KUO: Beyond its allusion to the Enlightenment, the title “ILLUMInations seems to refer to modes of communication but also to the problem of miscommunication, of national languages and their translation or misprision.

BICE CURIGER: Absolutely. I came up with “ILLUMInations,” and then I slept on it and thought, “Oh, you’re crazy.” But it’s quite good to have these multiple meanings in one word—if it’s just about light, that’s of course the classical theme of the arts, but it could also be a bit boring and too abstract. I like that, in highlighting the false suffix, the term acquires this more realistic anchor, a different semantics.

MK: And it points to thinking about the Enlightenment, about modernity, as principally about the negotiation between the individual and the group, the state, the world.

BC: Right. I’ve been reading Nicolas Bourriaud’s The Radicant [2009], which deals with exactly these questions. Either you have globalized pastiche, where you just say everything is the same, or you start to negotiate. What are the values you want to keep, and which values are better left behind. I mean, the Enlightenment and the idealization of rationality have long been under fire. But at a time when you have to think about human rights, it’s clear that there is this modernist tradition that is also worth fighting for. That these values still hold up.

MK: It seems, though, that many global exhibitions of the past fifteen years tried to make a statement about the status of globalization or multinationalism—and that they often lapsed into either a simplistic critique of economic globalization or, on the other hand, a crude family-of-man humanism. How would the rubric you’re outlining, a return to Enlightenment ideals, avoid the latter pitfall?

BC: I feel more comfortable starting with art, not with cultural theory or sociology or political discourse. And I think the Biennale is an interesting place to do that, because history and politics play a dominant role anyway. In fact, the people who came to Venice with big theories about the world were the same ones who said that national pavilions are anachronistic. But you also risk anachronism when you erase the memory of the place.

MK: Many of the artists whom you include in your show deal with the local as a concrete phenomenon, just as you say is implicit in the pavilion projects. Given this perspective—and the rediscovery of democracy as a global aspiration—is there any aspect of the main show that you can see addressing the turmoil in the Middle East or, by extension, the uncertain future of stable states and cities?

BC: I know now of one work by an Italian artist, Norma Jeane, that will pick up the theme of the Egyptian revolution. I think that this is wonderful—if you work with eighty-two artists, you hope that things like this are going to happen.

MK: And you will have temporary structures that embrace this contingency, too, by Franz West, Oscar Tuazon, Monika Sosnowska, and Song Dong.

BC: I call them “parapavilions.” With the thematic national pavilions outside, the parapavilion becomes an alternative approach where you can ask artists, for example Oscar, whether they would like to create sculptures that could host other artists’ works.

Then we asked Asier Mendizabal to show inside Oscar’s structure, because he had work, a slide projection, that I thought would probably get lost in the Arsenale. And the Franz West pavilion is really funny—he immediately said, “I’m going to do a reconstruction of my kitchen in Vienna in Venice, but inside out.” He has numerous artworks by his friends in his kitchen, and now the actual works will be moved and installed on the exterior of his pavilion. So these twenty-some artists are a kind of addition to my artists. Inside will be a Dayanita Singh slide projection.

MK: In the last Biennale, there was a great emphasis on participatory situations and event-based projects, a nod to the legacy of Pontus Hultén and exhibitions as related to performance and pedagogy.

BC: Well, there will also be ephemeral projects like that this time. Gelitin have researched an oven that was used to melt glass in ancient times. And they will melt one ton of glass and it will just spill over the lawn in the garden of the Arsenale. Then visitors may even walk over the glass when it’s hard, so that it breaks and moves underfoot. It’s about communal life and being there and doing something, and someone will play music.

MK: What about, in a very different register, the theatricality, the drama, of Tintoretto, paintings of whose you’ve chosen to show? How can such different historical moments be at all compared?

BC: Tintoretto was highly experimental, and including his work is an occasion to question conventions, conventions of the art world, conventions of the contemporary art public, conventions of the old-master public. I belong to the generation that once had to fight against what we call, in German, the Bildungsbürger: It was all about canonized Western culture, about knowing Goethe and Schiller and inhabiting the guise of the middle-class intellectual. We have questioned that, with the result that, I think, we have in a sense lost our way. Today we have to go back to the discussion, What is culture, what is art, what are its fundaments in a globalized world?

MK: Is there a danger, though, that people will see the inclusion of Tintoretto as an attempt to establish these fundaments within the heart of Western high culture? Or is a biennial in Venice inevitably Western-centric?

BC: Of course one can walk through Venice by totally ignoring the place and pretending to be in just another urban metropole. I think we should be honest. What’s wrong with starting from what we actually know?

http://artforum.com/inprint/id=28059

讣告范例http://www.nytimes.com/2010/06/12/arts/design/12polke.html?pagewanted=1

Sigmar Polke, an artist of infinite, often ravishing pictorial jest, whose sarcastic and vibrant layering of found images and maverick painting processes left an indelible mark on the last four decades of contemporary painting, died Thursday in Cologne, Germany. He was 69.

The cause was complications from cancer, said Gordon VeneKlasen, a partner at the Michael Werner Gallery New York which, along with Galerie Michael Werner in Cologne, has been Mr. Polke’s chief representative for nearly 20 years.

Mr. Polke (pronounced POLL-ka) was nearly as influential as Robert Rauschenberg, Jasper Johns and Andy Warhol, the postwar titans who made his own work possible. And ultimately his influence could even exceed theirs through its sheer diversity, stylistic promiscuity and joyful, ruthless exploitation and expansion of the ways and means of several mediums.

He made prints and sculpture and in his youth, and dabbled memorably in Conceptual and installation art, with potatoes being a favored material. His peregrinations in and around the mediums of drawing and photography were extensive, meriting enormous retrospectives and forming second and third careers.

But his main achievement was to be an early and astute adopter of American Pop Art, belying its crisp, consumerist optimism with tawdry materials that added social bite, and with random splashes of paint that implied disorder and the unconscious. His paintings were essentially Conceptual in their skepticism about the very act of painting.

His images rampaged through history, ranging from demure 18th-century prints of an aristocratic astronomer that slyly signaled his interest in optics to images of the watchtowers and barbed-wire fences of Hitler’s concentration camps, stenciled onto banal printed fabric.

The images questioned accepted taste, challenging the viewer to think through how they had been made; their random juxtapositions often seemed to mimic thought itself. In all these ways he opened the door to a freewheeling combination of representation and abstraction that is still playing out.

His first solo exhibition in New York, of paintings made at least a decade earlier, was at the Holly Solomon Gallery in SoHo in 1982, and it jolted the American art scene with news of European painting’s vitality.

Mr. Polke’s antic irreverence was picked up by legions of artists in all mediums on both sides of the Atlantic, among them Martin Kippenberger, Albert Oehlen, the team of Peter Fischli and David Weiss, Richard Prince and Lara Schnitger.

Tall, with a commanding presence and caustic wit, Mr. Polke was often fittingly called an alchemist. He had a long face that seemed to call out for a sorcerer’s pointed hat. In photographs, he often appeared to be on the verge of laughter; small, gleaming eyes behind wire-framed glasses and a sharp V of eyebrows added a sardonic if not demonic note.

Indeed, in painting he pursued a form of combustion that was not only visual but also chemical. In the 1960s he experimented with the interaction of fruit and vegetable juices. In the late 1980s he began making paintings by sprinkling silver oxide, powdered arsenic or granulated meteorite over canvases wet with resin. Some changed color over time; others were temporarily altered according to temperature and humidity.

And his large photographic images — many of them based on photos he took during a trip to Afghanistan and Pakistan in the mid-1970s — often seem to have emerged from a mismanaged laboratory experiment.

For much of his life Mr. Polke made extensive use of recreational drugs. Mushrooms were a frequent motif in his paintings and photographs. Unpredictable behavior was his norm, elusiveness his everyday mode, and provocative answers a matter of course.

He could be completely genial to people not in the art world, but he could also be an art dealer’s nightmare, especially in the early years of his career, when he handpicked the buyers of his works and set high, arbitrary prices.

In an essay in the catalog for Mr. Polke’s 1990 retrospective at the San Francisco Museum of Modern Art, the German collector Rainer Speck described buying a Polke in 1981 for a very high price that he suspected the artist had set by “doubling his age and adding three noughts.” Mr. Polke turned 40 that year.

When one dealer asked Mr. Polke about an exhibition they had discussed years earlier, he agreed to it on the condition that the dealer promise it would be the gallery’s last. Basically he behaved as if every aspect, ritual and protocol of art and the art world was available for manipulation.

Sigmar Polke was born Feb. 13, 1941, in Oels, in the Silesian region of eastern Germany in what is now western Poland. His family, with five or six children, fled west to Tubingen in 1945 as the Russian Army advanced but still wound up in East Germany as World War II ended. In 1953 they moved to East Berlin and crossed over to West Berlin on the subway. The young Mr. Polke pretended to be asleep to contribute to the air of normality.

The Polkes later settled near Düsseldorf, and Mr. Polke lived there or in nearby Cologne for the rest of his life. He married and divorced twice and is survived by the children of his first marriage, Anna Polke and Georg Polke.

Düsseldorf provided an excellent environment for a budding artist; it was the site of the first postwar exhibition of Dada in 1958. By 1960, its commercial galleries had held solo shows of Rauschenberg and Cy Twombly and it became a meeting place for Fluxus artists like Nam June Paik and George Maciunas starting in 1962.

In 1959 and 1960, Mr. Polke completed a glass-painting apprenticeship, an experience that contributed to his lifelong attraction to transparency. Later, many of his paintings would be on plastic — whether thick or thin, ridged or smooth — which contributed to the eerie clarity of their layering and made them seem two-sided, even when hanging on the wall.

In 1961 he enrolled in the Düsseldorf Art Academy, which was in its most experimental phase at the time. Joseph Beuys was teaching and promulgating art as a social activity, and Dieter Roth and Günther Uecker were professors. Mr. Polke’s fellow students included Gerhard Richter and Konrad Lueg, and in 1963 the three founded a painting movement they called Capitalist Realism. Their first show was in a storefront in Düsseldorf in 1963. Mr. Lueg would later change his name and become the Düsseldorf art dealer Konrad Fischer and would give Mr. Polke two exhibitions.

Mr. Polke’s paintings from this period depicted things like men’s socks, plastic tubs and candy bars in the uninflected style of commercial art. Soon he adapted Roy Lichtenstein’s Ben Day dots, but typically in a rougher, more mechanical version that suggested several trips through a photocopier. He had his first solo show at the Galerie René Block in West Berlin in 1966. In 1970 he had his first show with Galerie Michael Werner in Cologne.

Throughout the 1970s, German painting remained a kind of underground activity, with Beuys and German Conceptual artists like Hanne Darboven getting more international attention.

But in the 1980s Mr. Polke, along with painters like Mr. Richter, Anselm Kiefer, Georg Baselitz and Jörg Immendorff, signaled a resurgence of painting that was heard around the art world. The experience bred into Mr. Polke a preference for the margins over the mainstream and a relatively modest lifestyle despite his success. He worked without an assistant and lived in Cologne in a warehouse surrounded by his books and his paintings.

The Rubell Family Collection (RFC) was started in New York in 1964 when Don and Mera Rubell were first married. Since 1993 it has been displayed in Miami at its current, 45,000 square-foot location inside a former Drug Enforcement Agency confiscated goods facility. RFC first opened to the public in 1994. In 1998 the non-profit Contemporary Arts Foundation (CAF) was created to expand the Collection’s public mission inside the paradigm of a contemporary art museum.

Each year CAF presents thematic exhibitions drawn from the collection with accompanying catalogs. These shows often travel to museums around the country. Recently, CAF exhibitions have been presented at the Brooklyn Museum of Art in New York and the Palm Springs Art Museum in California. To date, CAF has published 14 catalogs. Sponsors for recent exhibitions have included U.S. Trust and Bank of America Merrill Lynch Global Corporate Investments, Puma and Audi.

CAF also maintains an internship program, an ongoing lecture series and an extensive artwork loan program to facilitate exhibitions at museums around the world.  Its ongoing partnership with Miami-Dade County Public schools enables thousands of schoolchildren to visit and engage with the Foundation every year.  In addition, CAF maintains a public research library containing over 40,000 volumes and a comprehensive contemporary art bookstore.

Since opening in 1994, RFC has been recognized as the pioneer of what is often referred to as the “Miami model,” whereby private collectors create a new, independent form of public institution.

The Friedrich Christian Flick Collection in Hamburger Bahnhof - whose main concentration is the late 20th century - encompasses ca 2000 works by approximately 150 artists. Certain individual artistic positions are strikingly represented by larger work ensembles. The collection contains principally art by Europeans and North Americans, but Asian artists are also represented.

In 2004, the density, diversity, and outstanding quality of this collection led to an agreement between Friedrich Christian Flick and the Staatliche Museen zu Berlin specifying that it would remain on display in Berlin for seven years, that is to say, until 2011. For this period, Flick made the collection's approximately 2000 works available to the Nationalgalerie in the form of a long-term loan. The loan, presented to the public under the title "The Friedrich Christian Flick Collection in Hamburger Bahnhof," has been supplemented periodically by new acquisitions added by Friedrich Christian Flick.

The collection is being presented for a seven-year period by the curators of the Nationalgalerie in a variety of configurations, ranging from thematic overviews all the way to monographic exhibitions. For the most part, these exhibitions are found in the so-called "Rieckhallen" of the Hamburger Bahnhof. At the same time, works from the Friedrich Christian Flick Collection are also on view in other facilities of the Nationalgalerie in conjunction with their own collections.

The historical core of the Friedrich Christian Flick Collection in Hamburger Bahnhof is formed by large groups of major works by a trio of classical modernists: the paintings of Francis Picabia, with their numerous citations; the existentially inflected sculptures of Alberto Giacometti; and the radical Conceptual Art of Marcel Duchamp. All three of these work complexes point toward the collection's central focus, namely the upheavals and reconceptualizations of art after 1960. Especially notable is the large and virtually unique ensemble of works by the American artist Bruce Nauman, an group whose density and multidimensional character impressively mirrors essential aspects of Nauman's artistic thinking. Another important ensemble of works found in the Friedrich Christian Flick collection in Hamburger Bahnhof encompasses Conceptual Art, Minimalism, Fluxus, and the Poetic Structuralism of the 1960s. Notable in this context are works by Sol LeWitt, Lawrence Weiner, Robert Ryman, Marcel Broodthaers, Nam June Paik, Dieter Roth, Dan Graham, and On Kawara, among others. The medium of painting - whose point of departure in the Friedrich Christian Flick Collection is found in the art of Picabia - is represented for the most part by German artists such as Sigmar Polke, Gerhard Richter, Georg Baselitz, and Blinky Palermo, but also by younger artists such as Neo Rauch and Daniel Richter, and Belgian painter Luc Tuymans.

This intriguing constellation of positions, primarily representing Classical Modernism, is closely linked within the collection to the art of the subsequent generation, to individual works and work ensembles by contemporary artists such as Stan Douglas, Isa Genzken, Rodney Graham, Andreas Hofer, Jason Rhoades, Pippilotti Rist, Anri Sala, Beat Streuli, Wolfgang Tillmans, and Jeff Wall. The Flick Collection encompasses all media, from drawing, prints, paintings, sculpture, environmental art, photography, and video, to film. In addition, artists such as Paul McCarthy, Jason Rhoades, Rodney Graham, Peter Fischli/David Weiss and Stan Douglas are represented in the collection by conspicuously large format works, including elaborate installations as well as complex filmic spaces.

In the realm of photography, we find wide-ranging ensembles of classical works by such artists as Albert Renger-Patzsch, Walker Evans, Alfred Stieglitz, and the photographers of the Bauhaus. These works function as points of departure for contemporary photography, represented by artists such as Bernd and Hilla Becher and their students, but also by conceptual photographers such as Vito Acconci, Dan Graham, and Gordon Matta-Clark.

In spring of 2008, Friedrich Christian Flick made a gift to the Nationalgalerie of 166 works from his collection, among them outstanding pieces by Georg Baselitz, Bruce Nauman, Paul McCarthy, Dieter Roth, Richard Artschwager, Isa Genzken/Wolfgang Tillmans, Stan Douglas, Rodney Graham, Pipilotti Rist, Urs Fischer, and Christoph Büchel. His gift was the largest received from any individual to date since the Nationalgalerie was founded in the 19th century. (On the works included in this endowment, see also: Collections of the Nationalgalerie).

http://news.bbc.co.uk/2/hi/europe/3680302.stm

This is an Artfacts.Net interview with Wilhelm Schürmann. Wilhelm Schürmann is professor of photography and free photography at the Faculty of Design at the UAS Aachen. He is known as a collector, artist and exhibitor, and most recently, he is back in Berlin with his own space (Schürmann Berlin). Furthermore, Wilhelm Schürmann is a member of Freunde des Art Forums Berlin (Friends of Art Forum Berlin).

AfN: Hello Mr Schürmann.

Where do you position yourself in the art world? Is there still a clear differentiation between gallery owner, collector, curator, artist, auctioneer?

Schürmann: I consider myself as private collector, as a private scholar in matters of art. It is quite secondary which professional activity I am officially attributed to. All that counts is the personal connoisseurship, and this is not just something to be achieved by buying or possessing art but also by reflecting on how to make things beam again, beyond their materiality. Art locked up in the storage room or at home does not offer any possible connections between work and public reflexion. Private exhibitions of images in an unprotected public space are the background in front of which I - as a collector, as a person who is dealing with art, both privately and professionally - am operating.

AfN: But this differentiation of roles in the art world becomes more and more blurred?

Schürmann: This has always been irrelevant to me. 20 years ago, people already asked me to determine my professional activity, but why can't I just embody several activities? It is always about this one thing - about dealing with art, dealing with images, dealing with objects and mainly about the question what art is: what is this thing I am looking at? What does it mean? How do I position it in relation to the viewer? No matter if I am myself the viewer, the visitor, the colleague or whatever.

AfN: Although you are quite busy, you take your time for Berlin. Why is that?

Schürmann: The answer is very simple: Berlin is the most exciting city in Germany. Being in an urban metropole that speaks one's own language is really a very fortunate circumstance because the entire surrounding identity is quasi reflected in one's genes. This feels different compared to being abroad in a similarly big metropole. Berlin is incredibly vital, enjoyably un-German, at present maybe the most international city in this country and permanently on the move. Berlin has this critical mass of interested persons so that a public, an audience for special programmes can be guaranteed.

AfN: You are a member of Freunde des Art Forums Berlin. What are the goals of this association?

Schürmann: The goals of the association are strenghtening the fair, the self-esteem of a German fair location as an emporium of visual arts - mainly contemporary art - and for that purpose, finding persons who identify themselves with it, also publicly. There are also other locations but in the medium and long term, the capital is just unbeatable. For years, there has been this discussion about the competition Cologne-Berlin. I think that this will soon be done. For a long time, Cologne as neighbouring city has been the cultural living room of the temporary capital Bonn, and it is clear that, after the Fall of the Wall, Berlin as the capital has necessarily become culturally more attractive, with all the treasures that can be found in its museums - this is just world class.
It is the only city that can offer all this in such richness. As a corollary, there needs to be a fair location for art in Berlin as well. The only backlog demand - in comparison to Cologne - would be a stronger emphasis on classical Modern Art. Berlin focusses on contemporary art. I think that in this respect, the Friends can bolster the acting persons. In Germany too, we might be able to work together and not against each other.

AfN: Art Forum once was thought to be a creative Berlin answer to the market controlling position of Art Cologne. Art Forum is now an important player in the world concert of fairs. What will happen to the smaller fairs gathering around the top dog? Will they vanish into thin air?

Schürmann: That's the beauty of it - it is the market that will decide. There might be several little niches but the abundance of fairs has become so variegated that the galleries participating in many fairs will have to think about where to show their principal works. Top level art is rare, and if it is actually shown at fairs, the question will be "where?". There will be a natural selection. Nobody wants average quality. Quality will be the crucial factor; I do not know how much time it will take - but in the long term, Berlin will definitely have a big chance because the international visitors like to come to Berlin. No fair location should think that visitors would solely come for the art fair; the overall concept of the city needs to be attractive. It's the art, the location, the people that arouse interest. People do not just go to Basel and then back home, but they make a tour to South Europe, in Switzerland and visit whatever could be of additional interest.

AfN: In an interview you said that you considered this current global permanent fair as totally overrated by the media.

Schürmann: Yes, I still think so. It is false to think that the prinicipal art offers can exclusively be found at fairs. The visitors' length of stay is limited, and complicated, complex or difficult art cannot be experienced en passant; in the future, it will still be necessary to see, experience and penetrate more complex works without immediate recognisability in galleries and over a longer period. A collector incorporates a work in his life; it becomes a part of his everyday life. It is a time process; it can take a while.
As a collector I pose myself the question if a work, in five, seven or ten years, will still be able to offer the same intensity. This is not something I can decide by just quickly passing by. A fair will never be able to offer that. A fair - any kind of fair - is always a class reunion, a meeting place for a lot of people in a very short period of time. A marketplace. There are possibilities of comparison gathered in a very limited space; it is thus possible to develop one's own criteria in a short period of time. Everbody has a similar access to information. Via networks, everybody can become an insider. A good art fair is also able to generate within one week numbers of visitors that can usually only be offered by big institutions. Very good galleries take certain fairs so seriously as if they would provide for important solo exhibitions. For one week. They retain special works for these fair presentations. You would never obtain such a number of visitors in galleries. This is obvious for everybody. But as I said, genuine quality is rare.

AfN: In matters of quality in art or art fairs, you once said: "Art has always been relatively rare, and it still is. We have to say good-bye to the idea that we need to embrace everything that is labelled as 'art'. It is the same for music: I cannot complain every day about boygroups…"

Schürmann: …I cannot complain about the fact that not everything labelled as 'art' is satisfying my expectations. I do not listen to the music of a 12 year old either. It has become more difficult to find music that I like when I turn on the radio; so I have to buy a CD or other sound carriers or get it from the net. But it exists. The same applies to art. I do not need to consider everything under the same cover as relevant. But what's more difficult nowadays is the fact that there are no explicit styles, no isms noticeable anymore. Trends are quickly exhausted. These days, I have to develop my own ideas and wishes in the long term, and when I am able to follow them, I can find incredibly interesting things.

AfN: Do you think that there are parallels between the art business and the music business?

Schürmann: At this moment, I can see parallel developments only in the fair domain. Visitors like to go where there are recognisablities. I recognise what I know. There is a visual effortlessness, and music can also be just light background noise. But what is separating the two from each other is the marketability. Visitor numbers correspond to audience ratings. Every fair visitor is also a client - mostly as a member of the audience, rarely as a customer.
Music can be sold en masse. It is infinitely reproducible. Art - apart from the multiples - remains rare, there is no mass market. This is why the prices rise. It is thus a completely different situation. There might be parallels to television but this is not where art can be found. I think that the contemporary success of art has - apart from the glamour factor and the market records - also something to do with a need for something lasting, with sustainability. Glimmering optic and acoustic noise have even reinforced the need for the lasting.

AfN: The director of the Armory Show, Katelijne De Backer, has presented MTV shows in the past. She is an attractive and professional manager. Do you think that quirky individualists of the art scene will be replaced by slick managers?

Schürmann: This might be wishful thinking: interchangeable predictability. Did the Armory Show become the most successful fair? Or was it the Basel Art Fair with is charismatic Samuel Keller? The personal charisma is crucial, not the slick professionalism. Art is non-interchangeable because it is powerless, because it is always somewhere else, because it always takes new turns. Art is a permanent, unpredictable regeneration machine, and slick manager pros will continue to have problems with it. That's what makes it likeable.

AfN: According to you, art is produced by extraordinary artists and targeted at the markets. Apart from the artists, are there also producers in the art world, comparable with Frank Farian who stage-managed a band, Milli Vanilli that could not actually sing but only dance and look good?

Schürmann: This is a good observation. I think that this already exists for a long time: there are professional gallery owners who believe to know what their market wants, and who not only want their artists to join in, but who also select or even program their works. According to the motto: I can sell this one, the other one can be put in the store room, the market is not ready for it yet or your image needs something different…

AfN: What are currently - from your point of view - the most interesting places in matters of art?

Schürmann: The most interesting places are those where people dealing with art can unhurriedly do their thing without any permanent daily flaring fever. I noticed that some of the art works that I personally find most interesting, have always been created at side locations. In the networked world it is no longer necessary to act and to live in key cities. It might be useful to be able to try things out unhurriedly. I am thinking of places like Glasgow compared to London. I am thinking of academies like Karlsruhe compared to Düsseldorf.
I am thinking of cities like Los Angeles compared to the marketplace New York. The community of producing artists and of participating visitors, collectors etc there have been and are still able to talk and to exchange views unhurriedly. It is the same in Berlin at present. Whenever I meet visitors from London, they cannot believe that this city they like so much is so empty. Compared to London, it is almost an oasis of tranquility; London is always incredibly crowded - everywhere you go. Berlin is still enjoyably empty. And it will continue to be like that for a while; even if there is space for 7 or 8 million people, these would first need to find a job in the city.

AfN: Is Asia a destination, too?

Schürmann: I cannot join in that conversation. No idea. I have never been there, and I do not intend to operate there as a collector. I would feel like a colonial collector. I do not know the cultural background; I do not know the mindset. I think that a collection is the most credible when it reflects lived life. I do not miss anything, so I cannot miss out on something in Asia.
I want to understand Europe first. After my cultural socialisation with American images, I am now rediscovering the richness, the diversity and the distinctness of cultural offers in Europe, and I believe that with regard to this, Berlin could in the medium and long term take a monopoly position in gathering everything that is top-level and that the diversity of different starting-points of cultural nations had to offer for centuries - such as languages, mindsets, traditions, etc. How should an average tourist be able to experience European art in all its richness if he does not know the language? "What you see is what you get" is not enough anymore.
The art market often functions that easy, too. The price explosion takes place where decorative needs are served. Art - how I understand it - is interfering in my life and not only in the skyline of my living room. But I think that this actually is insignificant; we have to understand that in the art world, there are nowadays innumerable realities existing side by side at the same time. You cannot talk about the art scene, the art business, the art market. There are a lot of businesses and markets side by side.

AfN: Professor Schürmann, thank you very much for the interview.

(7.11.2007)

http://www.artfacts.net/index.php/pageType/newsInfo/newsID/3805/lang/1

Containing Conceptual, Land, and Minimal Art and works of Arte Povera created between 1965 and 1978, the Marzona collection is one of the most important ensembles of Conceptual Art. The collection encompasses more than 600 outstanding works, which are distributed today between the Hamburger Bahnhof and the Berlin Kupferstichkabinett. Also found in the Berlin Kunstbibliothek is the archive of the Marzona collection, which contains many thousands of books and periodicals, posters and invitations, recordings, films, photographs, and letters. This archive is accessible within the Kunstbibliothek to interested members of the public for research purposes. The Marzona Collection was assembled by Egidio Marzona, a passionate collector who followed developments in the art world of the 1960s and 1970s with intense interest. As early as the mid-1960s, encouraged by art dealer Konrad Fischer, Marzona founded his own art gallery as well as a publishing house, the so-called "Edition Marzona," both located within the intellectual orbit of the Düsseldorf Art Academy. It was in this period that he began building up his collection, conceptualized along the lines of an immense and encyclopedic archive. Found in the collection are objects by approximately 150 different artists which reflect an intermedial approach to art production, but also three-dimensional objects in a variety of materials, including drawings, sketches, collages, works in mixed techniques on paper, and photographs. Alongside these objects, Marzona has collected many thousands of invitations, exhibition catalogs, and posters, whose often unusual designs must also be regarded as realizing artistic ideas. In its sheer diversity and complexity, the Marzona Collection dialectically links the polar opposites of order and disorder in an open, flexible structure of artistic positions whose material and medial strategies and modes of realization manifest perpetual variations, transformations, expansions, and corrections.

The Goetz Collection is an internationally renowned, private collection of contemporary art in Munich. The Collection's activities embrace the entire diversity of today's artistic forms of expression in all media. Apart from drawings, graphics, paintings, and photography, the focus is on video and film work, room-sized installations and multi-channel projections. The Collection is committed to keep up and to develop high standards in art historical researching, cataloguing, preserving, and restoring of the works of art.

The semi-annual exhibitions in a museum building which was designed by the architects Jacques Herzog and Pierre de Meuron and completed in 1993 are concentrated on the development of individual artistic expressions and focused on larger group of works by single artists. In order to satisfy the needs of the mediaworks of the collection, the building was in 2004 enlarged by BASE103. They are open to the public by appointment only. Our exhibitions are proof of the autonomy of art, of its creative strength and its ability to show us the world in a way we would never have imagined possible. The Goetz Collection feels duty bound to plead for the openness of our perceptions and the constant correction of our thoughts and views through contemporary art.

The Goetz Collection’s library is a reference library containing around 7,000 volumes focusing thematically on the art of the second half of the 20th century and early years of the 21st century, and constitutes a vital resource for academic work at the Collection. The library contains artist monographs on all the artists represented in the Collection, a selection of international exhibition and group catalogues of the last 30 years, inventory catalogues of leading museums, galleries, and collections, and a selection of the most important periodicals and magazines. The Collection’s archives are particularly concerned to document the work and development of the artists represented at the Goetz and the history of the Collection. Use of the library by outsiders for academic purposes is possible on prior notification.

With the Museum Brandhorst, the Kunstareal museum complex has gained a significant new addition. In conjunction with the collection of the Pinakothek der Moderne, the multifaceted profile of modern and contemporary art has been expanded in an impressive manner.

The Udo and Anette Brandhorst Collection, with its important work complexes, will open to the public since May 2009 in a fascinating building designed by Sauerbruch Hutton architects. Both, architecture and works, further emphasize the city’s significant cultural importance and will trigger a far-reaching resonance. The paintings, sculptures and installations provide an aesthetic experience of exceptional immediacy and diversity, unlike that of virtually any other collection of private provenance in Germany.

From the very outset of their joint collecting activity, Udo and Anette Brandhorst were not only interested in the fine arts, but also in literature. Understandably, their attention focused on the cooperation between painters and poets in particular. This is shown in an impressive way by the 112 original editions of books illustrated by Picasso – with few exceptions this comprises virtually the whole of Picasso’s œuvre in this field. Works on paper by Kasimir Malevich, Kurt Schwitters, Joan Miró and others round off this complex.

This was soon followed by an increasing tendency towards contemporary art. Groups of works by artists from the second half of the twentieth century as well as by international exponents of contemporary art, form comprehensive focal points in the collection. With more than 60 works by Cy Twombly – paintings, sculptures and drawings – the Brandhorst Collection provides a unique overview of this exceptional artist’s creative development, comparable only with that in Houston, Texas. The ground-breaking American protagonist of Pop Art, Andy Warhol, is also represented by a plethora of works from all creative phases, a collection that cannot be matched by any other in Europe. Works by Joseph Beuys, Mario Merz, Jannis Kounellis, Sigmar Polke, Georg Baselitz, Gerhard Richter, Bruce Nauman, Damien Hirst, Jean-Michel Basquiat and Mike Kelley, are further protagonists of modern art represented in the Brandhorst Collection.
The Brandhorst Collection now comprises more than 700 works.

------

Museum Brandhorst
Kunstareal
Theresienstrasse 35a
80333 Munich | Germany

Mailing Adress
Tuerkenstrasse 19
80333 Munich | Germany

P: +49 (0)89 23805-2286

 一个死亡的房间

关着我洁白的身体和漆黑的瞳眸

没有门

封死了 沉重的木窗

我听见窗外 有幽魂讥讥地笑着 来回晃荡

明亮的月光 就在看不见的他方

何时能照进这沉默的死亡

刺穿徒劳的呻吟和癫狂的幻想

我的双眼 何时能被你燃亮

月光 月光！

焚烧我的灵魂 挽救那赴死的欲望

月光 月光！

我愿用失明 取代无色的牢房

我愿永住黑暗 触摸你温暖的观望

满十八岁那年的一个夏夜，南希坐在混杂着烟草和香水的气味，地狱般沸腾喧闹的坎特伯里艺宫音乐厅顶层。 她倚着栏杆，和姐姐爱丽丝一起俯瞰下面的观众，同时感到头晕目眩，甚至咳嗽。她耷拉着眼睛，在一连串喧嚣光鲜的丑角逗乐，读心术，特技表演中任由困意升腾，直至厅内木槌咚！的一响，敲出舞台上凯蒂的出现。
 
南希以回忆录的方式讲叙了她人生中第一次见到“肯特郡的士绅，娇小的费佛夏姆风流小生，凯蒂 巴特勒小姐”的那一瞬：“我非常不情愿地睁开眼------随即瞪大双眼，抬起头来，闷热和疲惫一扫而空。一盏聚光灯照射着舞台，正中央站着一位女孩------她是我见过的最特别的女孩！”
 
当身穿西装的男装丽人凯蒂摘下礼帽向观众行礼，露出“像波纹绸，在灯光下闪闪发光”一头利落而完美的短发时，南希被深深吸引了：“我想就是她的头发吸引我。要是有女人的头发剪得像她一样短，那一定是病人或犯人，不然就是疯子”。而随后，凯蒂略略低头戴帽，露出颈背上的硬领和发线间的一道白皙的皮肤，南希忍不住地颤抖------虽然身处如此炙热的音乐厅。
 
故事发生在1888年的夏天。英国女作家萨拉 沃特斯（ Sarah Waters）以第一人称讲述了牡蛎店的二女儿，18岁的南希从家乡的海港小镇到伦敦都市，历经曲折风云变幻的8年间的生活。在19世纪后期南希生活的青春时代，短发仍是男人的专属。如果要谈论爱情，那必是短发配长发；如果谈论的是性八卦，那么参考短发配短发：一种在伦敦逼仄阴暗角落的深处你情我愿地悄悄进行，皮肤白皙唇色鲜艳的风流小生能够一次得到一个金镑；另一种则要有风险得多，被称为刚阳女的同性恋女人被人丢石头，吐口水，在众民鄙视嘲笑的目光中出行------凯蒂，与同样帅气迫人的短发丽人南希深深相爱过的凯蒂，终于被这刀子般锐利蛮横的目光击垮，她匆匆嫁给了舞台的经纪人，一个挎得上胳膊能够让自己从容出门的男人。
 
被凯莉抛弃的可怜的南希如果能出生得晚点，过大半个世纪吧，她的命运会如何呢？

曾经有一位不太英俊的文艺青年，出生在京都，每天用方言讲话，有一对当语文老师的父母-----这位同学儿时的命运一目了然：在热心教育的老爸的鞭策下，他硬生生地背下《枕草子》，《徒然草》诸类古典名作；家里就连饭桌上的话题，也是围绕着风雅万种的《平家物语》《万叶集》等等来进行。

这位同学张了张白嫩嫩的草食系男生的脸，眼睛小小的，不时闪烁出敏感而忧郁的光辉，偏瘦，头发三七开-----很有种“没考上理科的文科男”之柔弱顺贴的气质。这幅外表迷惑住了许多人，包括他父母：瞧他，真是好孩子，整日蹲家疯狂阅读。其实，这位同学早以烦死那些唧唧歪歪的古文字和摇头晃脑的趣味，他尽挑些书刊中的世界文学来读，醉心于翻译文字的世界，新奇别致，朝气蓬勃，能让自己尽情地想象和痛快畅游。青春期叛逆的大胃口还不够满足，初中时他开始收集爵士唱片，自己的小世界越来越稳固，学校生活怎么看怎么土巴巴的，和他实在是格格不入。他带着外柔内坚，不太合群的小范儿高三毕业，又补习了一年，终于怀着爱怨交加的复杂心情，考进了日本的私立名门早稻田大学文学院。

咳，才子终能遇佳人！在大学一位叫阳子的俏皮能干的女同学相当精准地射中了他的心：两人都爱爵士乐，阳子还喜欢摄影。陷入爱河的两位年轻人迅速地海誓并山盟，结了学生婚，虽然他那会儿只有22岁，常逃课，本来想当个电影脚本家，却整日泡在新宿的爵士乐酒吧。

看来学生的身份对他而言真是只顶个球，他不仅早早地成了家，还在毕业的前一年，找银行借款，开出了家自己的酒吧。音乐当然是爵士乐，酒吧叫 “皮特猫”，取自以前曾养过的一只猫的名字。 故事讲到这儿，简直就是俗套之极：一位弃文从商的文青企业家的发迹史。

可故事的发展往往出人意料-----养猫，看棒球赛，守着酒吧，终日悠闲，他伏在酒吧厨房的小桌子上开始晕头晕脑地编故事写小说了。没料到儿时积攒起的欧美文学的底子帮了大忙-----他投稿的小说连续获奖并一发不可收拾，才气立柱冲天，佳作层出不穷。他越来越有名，冲出了日本走向了世界，到布拉格，到以色列，穿着黑西装去演说和领奖，估计没几天也要去瑞典了。

在他作为小说家刚露尖尖角的时候，一位现在很老但当时很cute的中国血统的欧洲男人跑去给他拍肖像照。照片中的他穿着条明显的过于肥大的白色休闲裤，双手插在荷包，昂首挺胸，目光投向远方；他的旁边还放了块椭圆形的顶端装饰着颗月白色羊头的镜子作道具，镜子里映出他的侧影，和俯拍出的那张欣欣向荣的正身像形成意欲明显的画外音。不知道到底是谁的点子，这张做作，自满，情趣不太高尚的照片最后出现在欧美某时尚杂志的内页。

我手里正拿着这张照片-----其实已被当年的摄影师印制成了推销自己的明信片，找工作时送人作纪念的那种。他的名字当然地被印刷在上，村上春树，其实您早猜到了：羊头，镜子，幻境，还有文坛新星冉冉升起等等等等各种笨拙的隐喻。

最近有美国敏锐人士在其专栏中点出了个分辨大作家和二流作家的潜规则，即看此作家出的书是老由一家出版社发行呢，还是出一本挪一地由各类出版商分别代理。原因其实很简单-----关系和谐稳定，一掷千金买断价，共同坐定大佬位置。村上春树的书，仔细瞅瞅，不难发现均由新潮社掌管出版-----可是日本最大的出版商。村上在新潮社不仅出书，还写专栏小文，可见关系之密切。

一次和当年负责村上专栏的新潮社编辑喝起小酒，聊到去年五月《1Q84》在日本疯狂上市之景。“你们赚发了吧，”我说,“连赶印都来不及。” 编辑嘻笑而不语。“封面设计得那么丑，还能抢购成那样。。。”我抱怨。“嘿，这个你就不知道了！”编辑压低声音神秘地说，“村上的书要买好，封面得走大众趣味的路线。《挪威的森林》出版那会儿也是如此，最初设计的封面可不是最后上市的那版-----阳子夫人不同意，觉得太小众，并且坚持上下册采用不同的颜色-----结果大卖！这风格一致保证至今，几乎成了村上的专利。”“阳子夫人这么厉害？”我问，“贤内助。。。？”“当然，”编辑说，“新潮社出村上的书，都得她最后拍板。”

除了小说家的身份，村上另外几个被人熟知的形象是跑步家和翻译家，如他翻译了塞林格的《麦田守望者》。但如果你喜欢探讨人生，还能发现更大的惊喜-----村上还是个日本版的连岳！新潮社将大量粉丝读者来信中的问题交给村上作答，最终出了本情感问题问答集。风格同于“我爱问村上”。

最近女性时尚杂志《an an》重新开出了村上春树的散文专栏，专栏有个有趣的名字，叫做“村上广播电台”-----据说是村上自己起的。就像做惯了大餐的大厨，偶尔也会练练手，下几碗清汤挂面。村上用写日常感悟的博客风格来写这个专栏，在最新一期的《an an》上，他讲了个在夏威夷遇见向他讨钱买汉堡的流浪汉的故事，悟出讨钱有讨法，付钱有付法的小心得。村上发表在《an an》过去十年的专栏散文已经合集出了书，配着冷幽默格调的插图，有点懒有点闲，还带点翘着鼻子的机趣，正如他惯爱的猫的性格。

哦，我忘了说，在《1Q84》被买断的那一两个月，我欣喜地发现，村上老师的母校早稻田大学门口的书店里居然搁着好大几本没人搭理！我淡定地拿起两本《1Q84》，买下，谨作纪念。

刺桐花儿开

唤来了风  风暴要来了

刺桐花儿狂乱绽放

唤来了风  风暴要来了

反反复复的哀伤 如同横渡岛屿的波浪

甘蔗林中 与君相遇

甘蔗地下 与君永别

岛歌啊 乘着风

和鸟儿一道 渡过大海吧

岛歌啊 乘着风

要让他们知道 我的泪

刺桐花儿散落

只剩细浪摇曳

微小的幸福 浪沫一样的花儿

甘蔗林中 唱过歌的朋友啊

甘蔗地下 永别了的朋友

岛歌啊 乘着风

和鸟儿一道 渡过大海吧

岛歌啊 乘着风

要让他们知道 我的爱

------lico 译

島唄

でいごの花が咲き
風を呼び　嵐が来た

でいごが咲き乱れ
風を呼び　嵐が来た
繰りかへす哀しみは　島わたる　波のよう

ウージぬ森で　あなたと出会い
ウージぬ下で　千代にさよなら

島唄よ　風にのり
鳥（しびとの魂）と共に　海を渡れ

島唄よ　風にのり　
届けておくれ　わたしぬ涙

でいごの花も散り
さざ波がゆれるだけ
ささやかな幸せは　うたかたぬ波の花

ウージぬ森で　うたった友よ
ウージぬ下で　八千代ぬ別れ

島唄よ　風に乗り
鳥とともに　海を渡れ

島唄よ　風に乗り
届けておくれ　私の愛を

海よ
宇宙よ
神よ
いのちよ
このまま永遠に夕凪を

上次在北京和朋友们聊电影是不是讲故事的艺术。很明显，如今电影已经朝视觉艺术的地平线飞奔而去，如其说电影中令人期待的是故事中的情节，经纬，结局，不如说这种主体靠影像叙述的艺术更把功夫下在精雕细琢受众的视觉感知和对电影语言的理解整合上。如果把当代艺术中的影像作品考虑进去，范例更多，如杨福东《竹林七贤》。人物形象可能还鲜活立体，故事的寓意却渐渐褪色。 人们接受影像的信息是自然和相对容易的，接受文字却需要教育的干预与自身而发的求解冲动，要求一种特权精神和生长在灵魂深处的想象力。小说艺术比影像艺术更忠诚和牢靠地保存了故事的力量，寓意，不可解和随时间流逝绚烂变色的迷人魅力。

而时代的特征从文字主导向影（图）像主导的演化，是精英主导流转为庶民主导的表现吗？ 气急败坏的文字抢夺到的地盘还是一个庶民交流的平台：网站，围脖。

菲茨杰拉德的短篇非常适合在卫生间里阅读，如果他是个码字神风队员，我觉得他还可以在卫生间里写，这样我们就扯平了。《刻花玻璃缸》冒着森森鬼气；《金太太》是个能赚眼泪的短篇电影的好脚本；还有一篇忘名字了，讲昔日球童与梦中情人的一段情愫-----是《了不起的盖茨比》的平装缩水版。。。菲茨杰拉德的小说结构精巧轻盈，有着天才手笔之灵气。但女主人的声色细节描写，絮叨而啰嗦，用词浮华而繁硕，令我很无由头地怀念起曹雪芹来。 英国女作家萨拉 沃特斯的《轻舔丝绒》，一样是部好戏，迷人的地理，女主人公，爱情，但人家为何能写得让人读了颤抖呢。

同时在看一位朋友的小说，他边贴，我边看。作为被邀同去阿尔法星的朋友，我必须诚实地对待我的阅读观感。他的小说如果被捏成型，那将是Tony Cragg的作品。

最忙的时候，接了一篇稿子。直觉如此，一个胶囊旅馆。并非新物，只要有稍微的当代建筑史常识便能看出里面的经纬。查资料，果然对头。坐标系越多，越能触类旁通。产品设计的常识同样帮了忙，我看这个旅馆，花里胡哨的吹捧之辞都是旧的，只有一个地方是令它现在发出光亮，引起人注目的地方-----对市场的坚决而明晰定位，不是它的目标群的，绝不抢-----设计师是位大腕儿，深得其要旨，投资方真是找对了人。所以这个东西，我只写两点，1，理论和实践30年前就有了，别现在一惊一乍的；2. 强大的产品设计力的确能令徐娘豹变足球宝贝。

不要轻易相信图片。包括建筑图片，美术图片，设计图片。靠印刷品认识世界，得到的视觉经验都是不靠谱的，被修改和被编排逻辑左右过的。当然，足球宝贝的图片并不大碍，有人还就爱宅家宅网不情愿认识真人-----也好，真摸一摸那球，发现硅胶或盐水的手感，这不是又给这世界抹黑不是。。。幻像就是我们心甘情愿养着的那只鼠呀！

德国同事马茨打电话给Lico，邀她第二天傍晚去一位摄影师家里吃晚饭。
 
“好呀！”lico欣然同意，“需要准备点什么礼物去呢？”
 
“她有个七个月大的小孩，” 马茨在电话的另一头说，“准备点小玩具？我带瓶红酒去。”
 
如同阿里巴巴的咒语一般，马茨的话突然磕开了lico记忆库的大门。大约半年前，从同事那儿lico听到了一个德国版的铁女人的故事：一位四十好几的摄影师，超高龄怀孕，孕期挺着大肚子照常上班，生完了孩子还没足月，便又挺着硬邦邦的满涨奶水的胸脯，重返摄影棚。摄影师的活多带突击性，常常头天深夜接了电话，第二天清早就得拎着沉重的器材迅速出发，预定保姆成了大问题。在没人帮着看孩子的时候，那个小猫大的婴儿便给放在摇篮里，搁在摄影棚的一角。 孩子醒了，张嘴大哭，摄影师头不回，手不停，眼不眨，只朝着助手的方向厉声呼到：“帮我抱五分钟，马上过去喂奶！！”助手们对她又怕又敬，是位出了名的作风彪悍，凌厉坚强的女人。
 
“对，就是她！她叫芭芭拉。” 马茨听了lico的猜测，呵呵地笑了起来：“她工作和下班时完全不一样，到时候你就知道了。”
 
就像小学生第一次参观大学校园，lico既激动好奇又忐忑不安。“即将走入一位铁女人的真实世界。。。”lico心里说，好像在为即将上演的下一幕配音，但听上去带着电视上泛滥成灾的预告片里蹩脚台词的味道。
 
lico与马茨在一栋不太新的石灰色公寓楼前停住。厚重的深栗色木门，旁边是块写着住户名字的电子呼叫板。lico看了看，发现一楼与二楼都落着芭芭拉的名字。
 
木门解了锁，一个柔美的声音从二楼传来------“快上来吧！”
 
墨红的真皮沙发，黑白相间的色泽鲜明的豹皮地毯，散落在各个角落柔和的射灯，巨大的极简美学的壁挂，钢琴，家传的雕花木柜，亚洲运来的小石佛；厚实的木质长餐桌上上质的银餐具在闪闪发光，透过窗外能看到一个小巧精致的花园阳台，色彩斑斓的花草在夜风中摇曳摆动。。。lico仔细打量着这个家，它温馨温暖，格调别致，似乎正是一切文艺青年梦想中的样子。
 
芭芭拉在厨房忙着煮意面，她看上去回家不久，穿着长筒皮靴，齐膝的丝质短裙，蜷曲的栗色长发。 她动作轻盈灵巧，一边在厨房里转来转去，一边和身边的人亲密地说着话------厨房里还有一位高大挺拔的男性，说话时总带着温和的笑容，他也正忙着做沙拉，亲手调理着沙拉酱。
 
芭芭拉的小孩坐在婴儿椅上，长了两颗牙，不停地啃着毛绒绒的玩具，一双明亮的大眼睛像极了芭芭拉。
 
“芭芭拉的先生是干什么的？”lico问马茨，边逗着小孩玩儿。
 
“她男朋友好像是做音乐的。”马茨纠正道，“芭芭拉没结婚。”
 
lico正摸着小孩头的手停了停，不由自主地朝小孩的小脸多看了几眼，小孩冲lico咧嘴一乐。
 
“嘿，”lico低声对马茨说，“事先要说明一下，我差点说错话。”
 
马茨奇怪地看了lico一眼，好像不正常的是lico。
 
“确定一下，小孩的爸爸是厨房那位吧？”
 
“对！”马茨说，“嘿，你也别想太复杂了。这种情况在欧洲多着呢。”
 
“这种情况在欧洲多着呢？！”lico在skype与人在纽约的昂莉聊天，有点激动，“难道我错了，我的想法过时了？婚姻就那么令人可憎，土得掉牙吗？如果没有婚姻的结构支撑着，旁人当然容易糊涂了，这不就提供了无限自由自在的排列组合么-----人工受精的小孩，女朋友前夫的小孩，男朋友前妻的小孩，女朋友前男友的小孩，男朋友前女友的小孩，邻居的小孩，亲戚朋友的小孩，etc。”
 
“法国ELLE的主编也是这样，与男朋友间有个小孩，一家三口人住在一起。她这么说过， ‘不结婚便没有离婚的痛苦。’”昂莉说道，“这种想法也蛮有诗意的呀。”
 
“哈！这话听起来怎么这么反讽？是反讽的诗意吗？”lico说，“避开婚姻的人生选择到底是基于对人性的信任还是绝望？”
 
“有的人可能是出于对人性的信任，或者说对世俗的厌恶。”昂莉想了想，说，“我有几个朋友也有这样的理想主义，不要那张官方的纸，不要婚礼上的示众演出，要的只是爱情和最基本的家庭概念------信任互助，共同养育孩子。”
 
“布拉德皮特和朱莉以前也这么想，但不幸他们现在是活例子。”lico说，“在理想和现实握手言和的蜜月期，矛盾还没有显现的时候-----你还会觉得自己挺酷，能公然挑战世俗陈规。日子一长，当双方进入倦怠期，被激情掩盖的矛盾便会出现。观念上的，经济上的，生活习惯上的，期待值上的。。。有矛盾很正常，看就得看怎么化解。比如说皮特就渴望增强角色感，最初希望用结婚来挽救与朱莉的关系，否则自己有点儿找不着北。可惜朱莉和法国ELLE的主编站在一条战线上。”
 
“lico！你也看OK!杂志啊！”昂莉笑道，“这些被OK!杂志挖出来的皮特与朱莉分手的内幕八卦，却被你说得正儿八经------也挺有道理。”
 
“只靠理想主义和爱情来维系一个家庭-------如果能称其为家庭的话，保险系数太小。”lico说，“好在他们分了手也不缺钱来养两个人的小孩。换了普通人，比如说一个单亲妈妈，要有多大的压力！何况还有社会的偏见。”
 
“西方还算强一点，东方的确难！ 不过如果我能有足够的经济实力负担自己和小孩的生活的话，做个单亲妈妈也行------我父母一定会喜欢自己的小外孙，无论这个小家伙是以什么方式来到这个世界上。”
 
“哇，你父母这么开明？！不太像传统的日本人啊。”lico羡慕地说，“要是换了我，我父母会斩钉截铁地与我绝缘------家里出了个败类。未婚先孕就是一大丑事，还敢把孩子生下来，非法同居不结婚，最后自食恶果被始乱终弃------这加起来有多少宗罪！”
 
“哈哈，” 昂莉笑道，“简直像个电视剧！但是也不能为了父母和社会勉为其难地结婚啊。”
 
“当然，如果把事情看得更理性些，依照Jared Diamond教授的理论，婚姻的确有保护女性的一面------在人类社会养育小孩需要的资源太多太复杂，靠母亲一个人的力量是不够的，需要想方设法地将小孩的父亲拴在身边，从他那儿不间断地得到帮助，以免其被雄性本性驱使，四处采花撒种繁衍后代。就像如今日本盛行的奉子成婚，结了婚也就等于保证了自己和腹中孩子未来的饭碗，小孩的父亲就算心里不愿意，那也是罪有应得。”lico说，“不过人类进化的速度太快，理论有点跟不上。现在中国进化出了二奶二爷，社会上的竞争角色一多，婚姻中的便不免有点儿降价。好在婚姻也有坟墓一说，不结婚的女人至少还是活的！要走要分要重新开始，均能行动迅速，跑得动------只要还能背着孩子跑！”
 

《开啦》第52期

偶在围脖上一般都是和朋友们抢照片围观，共同喷血，一起内分泌失调。求证，据说此张是在东京拍的，在哪儿啊？！是那位秒杀型模特童鞋呀？

“她坐在我对面，膝盖上搁着个廉价的塑料包，艳俗的图案夸张地挡住了她的上半身。她时而抬头，望一眼天花板，眨巴眨巴涂着长长的睫毛油的眼睛，时而歪头，微微地叹口气，目光闪烁游离。她修长的双腿紧紧地并着，薄黑的七分裤下，白皙的皮肤散发新鲜血浆的芬芳。那光洁的面庞仍带着鼓鼓的婴儿肥，好像一个弹力球----有足够的力量把即将到来挫折和悲伤一口气弹飞掉。”
 
我坐在她-----一位偶遇的电车女对面，记下这一段，发到博客上。
 
“薄黑的七分裤下，白皙的皮肤散发新鲜血浆的芬芳！” 男闺蜜做客我家，边喝咖啡边看我的博客，他大惊小怪地嚷出这段话，好像不小心触到了白雪公主后妈手中的红苹果，“这简直要引发我的食欲。。。皮肤！血浆！芬芳！你是不是刚看过电影‘暮光之城’和‘新月’？。。。”
 
“食欲还是那啥欲？” 我说，低头看了看自己的腿-----长得拖到地板的牛仔裤（尽管是低腰的Diesel！）下一双长度超过了脚踝的纯棉袜（尽管是ELLE牌牌的！），这和缩坐在电脑前的男闺蜜几乎是同一个行头。
 
牛仔裤倒也罢了，那是种被包裹起来的性感-----想起超模老前辈凯特莫斯老师，便令人心生宽慰；泄气的是，和电车女隐在小皮鞋中的浅口丝袜（看起来就像没穿袜子！）完全相反，我脚上套着的那玩意儿是超市服装部里1000日元三双中的一双，袜底脚掌的部分用绒线加了厚，摸着毛茸茸软绵绵的一块；脚腰的部分加了牢，厚实的针织棉里串着细细的橡皮筋。这里所有苦口婆心的细节似乎都在表明一个真理-----“您是个好动的不太女的同学，而这双棉袜子将陪伴您渡过健康而踏实，严肃而活泼的青春时光。”
 
我打了个寒战，将目光移向窗外。不幸，目光刚好落在晾衣架上-----1000日元中的另两双正有气无力地软塌塌地悬在那儿，好似被一场又一场的人生苦难肆意践踏，变了形，哦，的确变了形。
 
“要不咱们看‘白丝带’？德国片子，据说很不错。”我决心换个气场，骨灰级文艺青年当然要有更高的精神追求。
 
“我只爱看‘黑丝带’，哦不，黑丝袜。” 男闺蜜头也不抬，继续捣什我的电脑，哈，他正在打开一个街拍的页面，我想要不要立刻递个大缸过去接他的口水。
 
我闷头闷脑地回到厨房，倒了杯咖啡，重新瞥了眼晾衣架-----那两双洗干净了的晾着的运动棉袜，就像个疲惫而忠实的仆人，愁眉苦脸地提醒着每天的鸡零狗碎和油盐酱醋。
 
“吊在那儿的如果是丝袜。。。。” 我暗暗想，“哇哦~~” 我眯起双眼，想象着男闺蜜的视线。只要男粉丝能够骤增，男闺蜜的减少也只当是必要的牺牲。
 
现在，我正坐在原宿街角一家咖啡馆的门口，头顶撑着把遮阳伞，木桌，咯屁股的锡皮椅子。我哆嗦着把棉麻围巾拉到眼皮以下鼻子以上，捂着手中的热咖啡取暖。不时有粉嫩的樱花花瓣随风飘降过来，轻巧地停落在木桌上。可怜的樱花！四月中旬东京突然夜降小雪，白雪压樱枝十年罕见。“都是给冻落的！” 我想，“怎么就没把对面这位小姐冻住？”-----我的女闺蜜，坚持坐在室外（并一定要拉上我 ！），她穿着条浅粉色的叠层丝绸小裙，裙子下是一条黑色的缀满白点点的（极其接近Comme des Garçons川久保玲的招牌款！）leggings，12分长的窄裤腿一直套到脚后跟，脚上没有袜子，直接登着双圆头低跟的红色小皮鞋。
 
“最近如何？”女闺蜜问，她正优雅地低下头，小啜了一口咖啡，桌下的一双长腿顺势再次交差。她算是我的私人服装顾问，不仅不收费，反而经常主动地奉献些天知道哪儿来的鸡毛蒜皮的小手段和小技巧（以及时尚界八卦！）。
 
“我的衣橱正在进行着一场对袜子世界的和平演变。” 我说，同时把脚上川久保玲与converse合作推出的白球鞋向上提了提，白球鞋的外侧印着一颗长了对不老实的眼睛的小红心。
 
“这和袜子有什么关系？”女闺蜜问，低头看了看我的脚，“鞋倒真不错。”
 
“为了突出这双鞋-----请注意了，它是双球鞋吗？ 否！首先我不会穿它去打网球。要是为了打网球才买玲姐的鞋，不说暴殄天物，对玲姐大大的失敬，也是对美国经济的不怀好意，落井下石-----干嘛不买耐克呀。”
 
“我明白了，你是说，这鞋您是用来走台的。”女闺蜜打断我的话。
 
“您可以保留您的个人意见。” 我点点头，接着说，“既然不是球鞋，运动袜当然不班配了，所以我。。。”
 
“什么是运动袜？”女闺蜜问，双腿再次交差-----刚走过去一阴阳头原宿潮男。（我猜她下个问题大概会问什么是袜子！）
 
“所以最近，我将家里的运动袜统统扫到一边，穿的全身浅口丝袜-----你看得到我的袜子吗？” 我不理女闺蜜，自顾自地左右欣赏起双脚来-----阔口的牛仔裤，在脚踝上方卷起裤脚；在意味着休闲，性感和青春的仔裤与意味着品位，小资和另类的玲姐鞋之间，没有那个带着汗臭味儿的第三者（运动袜！）插足，有的只是一截光滑的脚踝（虽然已经冻得开始发红了）。
 
“咳，你不觉得浅口袜老脱吗？”女闺蜜说，不以为然，“动不动就滑到脚底去了。”
 
是啊，我想，有点儿沮丧，被她说中了（今儿我偷着拉袜子拉不下十回）。
 
“想穿袜子又不想承认穿了袜子，这不很拧巴吗？”女闺蜜说，“时尚最能反映一个人的生存哲学了。我劝你要么穿袜子要么干脆不穿！现在袜子概念变化大了-----leggings和袜子之间界线越来越模糊。想想，什么叫连裤袜，什么叫健美裤，什么叫齐膝袜，什么叫护膝。。。？这些都可以自由组合穿着玩儿的！高超的搭配达人一定要武装到袜子！谁说袜子就是袜子，谁说穿袜子就只能穿一双？”
 
几天后，我拍了张照片发给男闺蜜。浅口袜进化得真快，好多都在脚背处加了条钩带，防止滑脱问题的产生。我理所当然地迅速地赶上了趟，买了，试了，穿了；同时接受女闺蜜的建议，在套上袜子之前，先穿了条介于leggings与健美裤之间的东西（女闺蜜说得对，时尚进化得太快，人类语言的发展速度有些跟不上。面对此物，我相当失语-----总之，脚底有条钩带！）
 
“这是什么？！”男闺蜜惊叫一声。
 
“我改头换面的时尚脚。”我得意扬扬地说。

“天啊，这么五花大绑我还以为谁骨折了！”

--
lico Fang 《开啦》 51期

Kyoko MURASE　村瀬恭子

Cave of Emerald,2008

Oil, color pencil on cotton
125x140cm

“Sherbet” 2008
Oil, color pencil on cotton
190x230cm