曼努埃爾Vason 當代作品

協作行動＃1為首的曼努埃爾Vason，第三塞薩洛尼基表演展，當代藝術雙年展第四屆2013中建立的工作

ManuelVason's artistic practice explores the relationship betweenphotography andperformance.曼努埃爾Vason的藝術實踐探索攝影和效能之間的關係。 The artist considers the capturing of a moment anact of creation, a ritual that contributes towards the illusion ofimmortality and an act of exchange between the person in front ofthe camera and the one behindit.藝術家認為的時刻捕捉創作的行為，一種儀式，有助於對不朽的幻想，而該人在鏡頭前和背後的一個之間交換的行為。The collaborative nature of his practice shapes aunique hybrid art form while also developing new vocabularies forart practice and arttheory.他的實踐的合作性質塑造一個獨特的混合的藝術形式，同時也發展為藝術實踐和藝術理論的新詞彙。Hiscollaborations to date have become known as some of the most iconicimages of performance.他的合作至今已成為眾所周知的一些效能的最標誌性的影象。

協作行動＃1為首的曼努埃爾Vason，第三塞薩洛尼基表演展，當代藝術雙年展第四屆2013中建立的工作

Collaborating artists at the 3rd ThessalonikiPerformance Festival – 4th Biennale of Contemporary Art: AlexiaFalla, Andreas Pashias, Antonis Dalkiranidis, Christina Georgiou,Lela Ramoglou, Maria Kremeti, Olga Brouma, ThaliaZachariadou.合作藝術家在第三塞薩洛尼基表演藝術節 -當代藝術雙年展第四：亞歷克西婭法拉，安德烈亞斯Pashias，安東尼Dalkiranidis，克里斯蒂娜喬治烏，萊拉Ramoglou，瑪麗亞Kremeti，奧爾加Brouma，塔利亞Zachariadou。

Manuel Vason was born in Padua,Italy, in 1974. After having assisted some of the most celebratedfashion photographers of his generation in Milan, New York, Paris,London and Los Angeles, he pursued an MA in Fine Art at CentralSaint Martins at University of the Arts in London.曼努埃爾Vason出生於義大利帕多瓦，1974年曾協助一些他那一代最有名的時尚攝影師在米蘭，紐約，巴黎，倫敦和洛杉磯之後，他追求的美術碩士學位在中央聖馬丁在藝術在倫敦大學。Thefocus of his research then shifted from the body as a subject tothe relationship between photography andperformance.他的研究重點，然後從體內轉移為主題的攝影和效能之間的關係。In 2002Vason published two books: Exposures , about the body inLive Art (Black Dog Publishing) and Oh Lover Boy ,documenting a two-year collaboration with artist Franko B (BlackDog Publishing). 2002年VASON出版了兩本書：有關風險，對身體的行為藝術（黑狗出版） 呵呵情人男孩 ，記錄一個為期兩年的合作與藝術家弗蘭科B（黑犬出版）。In 2007Vason had his first solo exhibition Encounters , which wasaccompanied by a 230-page catalogue (Arnolfini/Cornerhouse).2007年VASON有他的首次個展的遭遇，這是伴隨著一個230頁的目錄（阿諾菲尼/的Cornerhouse）。 Hispractice is constantly evolving, with the artist integratingdifferent mediums and collaborative methods intoit.他的實踐是不斷髮展的，與藝術家整合不同的媒介和協作方法進去。

過程中產生的工作'成為一個Image“第三塞薩洛尼基效能節日期間帶領下曼努埃爾Vason協作行動車間，發給與會者當代藝術，2013年第四屆雙年展說明：您可以選擇您或旁邊的人你是什麼一個單一的服裝穿著。 Using a table as a plinth transform your bodyinto a sculpture that pleases you.使用表作為基座改變你的身體變成一個雕塑取悅你。 Transform the action into aphotograph. 轉變成行動的照片。 Fold the photograph into anorigami. 摺疊成一個摺紙的照片。

Becoming an Image (2013-ongoing) isVason's first body of work which does not emerge from a series ofcollaborations with individual artists but rather from a groupenvironment, in which Vason leads collaborative actions.成為影象（2013年至今）是VASON的第一部作品的機體不從一系列的合作與藝術家個人的，而是從一組環境中出現，其中VASON導致合作行動。At the3rd Thessaloniki Performance Festival, which was part of the 4thBiennale of Contemporary Art in Greece in October 2013, he providedthe framework for the artistic 'event' by issuing the participantsof his workshop with various instructions but then allowing theperformance to unfold in unpredictableways.在第3塞薩洛尼基效能節，這是當代藝術在希臘第四屆雙年展2013年10月的一部分，他發出他的車間與各種指令的參與者，但隨後讓效能展開提供給藝術“事件”的框架在不可預知的方式。Thepoint of departure for Vason's project is the concept of the 'Actof Exchange', which involves exchanges between participatingartists;臨行VASON的專案點是“法交易所”，其中涉及參展藝術家之間的交流的概念;betweendifferent practices, cultures, languages andages;不同的做法，文化，語言和年齡之間; between different mediums ofexpression;表達不同介質之間; between the artist and the location where theactions is taking place;藝術家並且其中所述動作是正在發生的地點之間;andbetween the work produced and theviewers.和產生的工作和觀眾之間。 The images produced become a form of skin withwhich to cover surfaces and three-dimensionalobjects.影象出品成為面板的一種形式，用以覆蓋面和三維物體。 In the process, ideas are transformed intoactions and then intophotographs.在這個過程中，想法轉化為行動，然後進入照片。 Finally, the photographs become objects whichaspire to provoke new ideas.最後，照片成為其渴望挑起新的想法的物件。

過程中產生的工作'成為一個Image“第三塞薩洛尼基表演展，當代藝術展，2013年第四屆雙年展期間率領曼努埃爾Vason協作行動工作坊頒發給參與者說明：選擇你的身體可識別你是誰具體細節。 Ask the person next to you to point out thisdetail with his/her tongue.問你旁邊的人指出了這個細節，他/她的舌頭。 Transform this action into aphotograph. 這轉變成行動的照片。 Present the image created into a transparentcontainer immersed in water.提出建立成一個透明容器浸泡在水中的影象。

Yet theobjects produced are not the sole aim or outcome aim of theartwork.然而，生產的物件不是藝術品的唯一目的或結果的目的。 Rather, the subject of Vason's investigation isthe artistic process itself, which is identified with the word'becoming'.相反，VA​​SON的調查物件是在藝術創作過程本身，這是確定的字“成為”。Theartwork undergoes constant transformation while also confrontingits audience with a requirement to engage and comprehend it alwaysanew.該作品經過不斷改造，同時也面對觀眾的是，要求參與和理解它總是重新。

過程中產生的工作'成為一個Image“第三塞薩洛尼基效能節日期間帶領下曼努埃爾Vason協作行動車間，當代藝術，2013年第四屆雙年展發給與會者說明：選擇一個控制代碼你特別喜歡。 Holdthe handle in your mouth and think of a specific door you wouldlike to open. 握住手柄含在嘴裡，並認為一個特定的門你想開的。Transform the action into aphotograph. 轉變成行動的照片。

ManuelVason in conversation with Photomediations Machine'scurator JoannaZylinska曼努埃爾Vason與Photomediations機的館長交談喬安娜Zylinska

JZ:Photography seems to play an important role in yourpractice. JZ：攝影似乎在實踐中發揮了重要作用。Rather than being a mere documentation of alive act, something that is said to freeze and thus annihilate theaction, it seems to be endowed with a much more vital force, beingelevated to a role of an active agent in the performanceitself.而不是一個活的行為僅僅文件，東西是說凍結，從而消滅行動，它似乎被賦予一個更為重要力量，被提升到一個活性劑的效能本身的作用。Could you comment a little on how you seethis relation between performance and photography?你可以發表評論，一點點你如何看效能和攝影之間的關係？

MV: Mypoint of departure is that if you are interested in experiencing aperformance, you should encounter it live, in direct interactionwith its ：我的出發點是，如果你有興趣在遇到效能，你應該遇到直播，在其演示的直接互動。 By no means do I intend to create images whichhave the arrogance of replacing or standing for the liveperformance.但這並不表示我打算建立具有替換或站立，現場表演的囂張氣焰影象。Mypractice is informed by the sense of frustration I experiencedevery time I had been asked to document a liveperformance.我的做法是無奈的我經歷了每一次我被要求記錄的現場表演感通報。With allmy good intentions and extensive dialogue with the performerartist, I never pretended to be able to create a document capableof replacing or standing for the liveevent.用我所有的好意，並與表演藝術家的廣泛對話，我從來沒有假裝要能夠建立一個能夠更換或站立，現場活動的檔案。Therefore I decided to transform my frustrationinto a propitious drive and to experiment with an alternative formof photographicdocumentation.因此，我決定將我的沮喪變成一個吉祥的車程，嘗試拍攝文件的另一種形式。

I havetried to document the live action working with a performance artistbefore and after his or her presentation in front of a liveaudience.我曾嘗試記錄一個表演藝術家的真人工作之前和之後他或她在現場觀眾面前呈現。I wouldtake a photograph using a large 10×8 Polaroid camera, allowing theperformance artist to present the action by responding to the'instant'image.我會拍一張照片採用大10×8寶麗來相機，讓表演藝術家通過響應“即時”的形象呈現的動作。Throughthis, I have treated the performance artist as a collaborator andhave shared my photographic decisions with them (decisions withregard to the point of view, frame, focus, lighting, composition,etc.).通過這件事，我已經處理過的表演藝術家作為一個合作者，並分享了我與他們的攝影決策（決策方面來看，框架，重點，燈光，構圖，等等）。I havearranged to stay at the performer's house with the aim ofdeveloping more intimacy and trust betweenus.我已經安排留在表演者的房子與發展我們之間更加親密和信任的目的。 I have facilitated the creation of performancesfor the camera in site-specific locations, with the aim ofdistancing my collaborations from the 'white' wall of the galleryor the 'black' background of thetheatre.我曾協助創立的表演相機在特定地點的位置，從“白”牆壁畫廊或劇院的“黑”背景的疏遠我合作的目的。

RecentlyI have been working on a new book project where a new performanceis presented in two images: in the first image I will be thephotographer and in the second I will be the body photographed bythe performanceartist.最近我一直在努力，其中一個新特性表示在兩個影象的新書專案：在第一幅影象，我會是攝影師和第二我會由表演藝術家拍下的身體。I thinkperformance and photography share the concept of'presentation'.我覺得效能和攝影份額的“表演”的概念。 Both art forms tend to exhibit, both art formsaim to provoke an emotion in theaudience.這兩種藝術形式往往表現出，無論是藝術形式的目的是激起一種情感的觀眾。But thetwo art forms have a different relationship withtime.但兩種藝術形式與時間不同的關係。 While photography tends to encapsulate time,performance tends to develop withtime.而攝影往往封裝時，效能趨於發展與時間。 Instead of insisting on the differences, I tendto mix the two art forms with the purpose of creating new forms ofextension or parallelexistence.而不是堅持的差異，我傾向於混合使用這兩種藝術形式與建立或擴充套件並行存在的新形式的目的。

JZ:I wanted to ask you about the specificity of the photographicmedium for you and the forms of mediation it creates.JZ：我想問你有關你的攝影媒介的特異性和調解它所建立的形式。 What is it about photography that pushed youto set it up in this relationship with performance?是什麼樣的照相推你設定它與效能這種關係？ (Why are you using photography and not, say,drawing – which could probably do the job of representation in atechnical sense, even if less accurately?)（你為什麼要使用攝影而不是，比方說，繪畫-這也許可以做到在技術意義上的代表的工作，即使較準確？）

MV: Itrained as a photographer before I encountered performanceart. MV：我受訓成為一名攝影師之前，我遇到了行為藝術。 I have experienced a large number of liveperformances through my camera and sometimes I consider myself alive artist working withphotography.我已經通過我的相機經歷了大量的現場表演，有時我覺得自己是一個活的藝術家與攝影工作。I adorethe conflicts and correspondences between the two art forms and Ibelieve it is possible to practice in an 'in-between area', ahybrid artform.我喜歡兩種藝術形式之間的矛盾和信件，我相信這是可能的練習在“在中間區域'，一個混合的藝術形式。I'm alsoconscious of the power of the image and the possibility ofcommunicating without any need of formaltranslation.我也意識到了影象的力量，而不需要任何正式的翻譯溝通的可能性。

JZ:In the 'Becoming an Image' project you have instantiated a seriesof collaborative actions that have resulted in some stunningimages.JZ：在“成為一個Image'你已經例項化了一系列合作行動，已經造成了一些令人驚歎的影象專案。Didyou have a certain idea of the kinds of 'image' that theparticipants were supposed to become?你是否也有多種“形象”的，與會者都應該成為某種想法？

MV: TheCollaborative Actions are the result of the Becoming an Imageworkshop. MV：該協作行動是成為一個影像工作室的結果。 During the first part of the workshop all theparticipants are asked to pull together a number of topics,personal drawing, statements, photographs, text, references, etc…All this material provides the basic ingredients for ouractions.在研討會的第一部分，所有的參與者被要求齊心協力一些話題，個人繪圖，報表，照片，正文，參考文獻，等等...所有這些材料提供的基本成分為我們的行動。Duringthe workshop my role swings between that of a leader and aparticipant… I do realize that sometime my inputs have a differentweight but I love to produce and respond to material that is notmine.在研討會期間，一個領導者和參與者之間我的角色搖擺......我當然知道，有時我輸入有不同的權重，但我喜歡製作和材料，是不是我的反應。

JZ:What role did the instructions you gave to the participants servein in the project;JZ：你給了參與者的指示擔任什麼樣的角色在專案; what were they aimed to do?什麼是他們的目的是什麼？

MV:During each workshop I have a really small amount of time to buildtrust and intimacy among the ：在各個車間我有一個非常少量的時間來建立參與者之間的信任和親密感。 The instructions are practical recipes for mentaland physical actions.該指令是實用食譜精神和身體的動作。 The true fortune of digital photography as amedium is the possibility of obtaining quickresults.數碼攝影為媒介的真正財富是獲得立竿見影的效果的可能性。 During the first few days the participants arebombarded with tasks in which they have to engage on their own aswell as with the other participants'bodies.在最初幾天參加轟炸中，他們不得不自行聘用，以及與其他參與者的機構的任務。Theprocess requires commitment but the energy that follows isinvaluable.這個過程需要的承諾，但後面的能量是非常寶貴的。

JZ:Are photographs more than a record of what happened then in thisproject? JZ：是照片比什麼在這個專案中發生了那麼多的記錄？Canwe go so far as to describe them as nonhuman participants of youractions? 我們能走這麼遠來形容他們為自己的行為的非人蔘與者？

MV: Ihope these images function as ：我希望這些影象作為代理人。 I hopethey trigger the imagination of the viewer, I hope they provokesensations, I hope they trigger futureactions.我希望他們引發觀眾的想象，我希望他們挑起的感覺，我希望他們引發未來的行動。Thebodies in these images are equal to the bodies of theviewer.在這些影象中的機構是等於觀看者的身體。 I believe we can all identify with these imagesand look at them with an active spirit ofparticipation.我相信我們都可以找出與這些影象，並期待在他們參與的積極精神。

JZ:You highlight the notion of 'exchange' as shaping much of yourpractice, including this particular project.JZ：你強調的“交換”的概念作為塑造你的很多做法，包括這個特定的專案。 What kinds of risks and openings do you as anartist take in this kind of exchange?什麼樣的風險和開口的，你作為一個藝術家在這種交流的需要？

MV: Thereason why I do this kind of work is because I'm convinced I havebeen contaminated by the practices of all the artists I havecollaborated with till ：我為什麼做這樣的工作的原因是因為我確信我已經被汙染了所有我的合作，發展到今天的藝術家的做法。When Iexchange with another artist I do expose my own practice to theinfluence of my collaborator'spractice.當我與另一位藝術家交流我暴露我自己的實踐對我的合作者的做法的影響。Thestarting point of any collaboration is wiping out your expectationsand the same time establishing what you are not prepare tocompromise on.任何合作的出發點是消滅你的期望，並同時建立您沒有準備什麼妥協。Thebenefit of this process is to solidify the principles of yourpractice while new alterations can also beintroduced.這一過程的好處是可以鞏固你實踐的原則，同時新的變化，也可以出臺。

JZ:What kinds of gifts did you receive from the participants in thisprocess of exchange?JZ：你從交換的過程的參與者收到什麼樣的禮物？ Were some of those gifts more unexpected thanothers? 是其中的一些禮物比其他人更意外的？

MV: Iwould describe as gifts all those magical memories and experiencesI collect during every ：我會形容為禮品所有這些神奇的記憶和經歷各車間的時候，我收集。 Those gifts mark what I do, what I want to do andwhy.那些禮物慶祝我做什麼，我想要做的和為什麼。

JZ:I wanted to talk a little bit about the relationship betweenfacilitation and control, and thus between hospitality and violencein your collaborations.JZ：我想談一點關於促進和控制之間的關係，從而好客和暴力在合作中之間。 This question arises out of my own interestin ethics – which I see as an opening onto the alterity of theother, into his or her in/humanity, in letting the relationalexchange unfold beyond the control of the ethicalsubject.這個問題是出在我自己的道德興趣-我看到的一個開口到其他的異性，到他或她的/人性化，在讓關係交換展現超越了道德主體的控制。However, any ethical relation, ie anyrelation with otherness, is always potentially marked by violence –in the sense that there can be potentially too much proximity, toomuch love, too much creativity, etc. To make this relationshiptruly ethical we need to keep working not towards the eliminationof violence (as that would be an impossible fantasy) but rathertowards what the French-Lithuanian philosopher Emmanuel Levinascalled 'good violence'.然而，任何倫理關係，即與他者的任何關係，始終是潛在著暴力-在這個意義上，可以有可能過分接近，太多的愛，太多的創造力，等等。為了使這種關係真正的道德，我們需要保持工作不爭取消除暴力（因為這將是一個不可能的幻想），而是朝著什麼樣的法國和立陶宛的哲學家列維納斯所謂的“好暴力”。Could you say a little about the roleviolence plays in your work?你可以說你的工作一點關於角色扮演的暴力？

MV: Idon't consider all violence as ：我不認為所有的暴力為陰性。 I thinkviolence is a human characteristic and, if repressed, can end upbecoming even moredangerous.我認為暴力是人類的特徵，如果壓抑，能最終成為更加危險。 I think we should introduce the positiveconnotations of violence, transgression andcontamination.我覺得我們應該引進的暴力，海侵和汙染的積極內涵。 Collaborative relationships exist in a constantattraction/repulsion mode: the condition is always unbalanced evenif the aim is to reach the point of perfectequilibrium.存在於一個恆定的吸引/排斥模式的協作關係：該條件始終不平衡，即使其目的是要達到完美的平衡點。Thismechanism produces energy and if the energy is a channel towardssome creative output then I think it isbeneficial.這種機制產生的能量，如果能量是朝著一些有創意的輸出通道，則我認為這是有益的。In facteven destruction can be beneficial.事實上甚至破壞可以是有益的。Iencourage diversity because I consider it closer to our intuitivebeing and in opposition to our rational inclination tocontrol.我鼓勵多樣性，因為我認為它更接近我們的直觀感和反對我們的理性傾向控制。

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夢想與現實之間的磨合讓我讀懂很多生活的語言，風雖改變了方向，卻沒有改變我的行程-----

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