埃里克•A•弗兰德森专访——绘画意味着凝固的瞬间
记者：栋 栋
翻译：张晓华
时间：2009年3月
地点：林冠画廊
埃里克•A•弗兰德森作品
编者按：近日，798艺术区林冠画廊隆重推出了丹麦艺术家埃里克•A•弗兰德森个展——“凝固瞬间”。 埃里克•A•弗兰德森是一个擅于运用材料的艺术家，明亮的大展厅挂满不锈钢材料制作的大画，作者在这里抛弃了通常的画笔，而选择研磨机器在光滑透明的不锈钢板上大写意，“罂粟花、蒲公英、百合、火鹤”开满整个展厅。观众可以看到独特的笔触，有机器的现代感，也有手工的劳作感。不锈钢板上投射出观众以及环境的影子，朵朵“鲜花”在此时被衬托得更加耀眼，不时冲刺着外向的张力。在作品和现场的大环境中投射出虚实交错的两个时空。
第二个展厅展示着埃里克•A•弗兰德森的油画，作品显示出艺术家理性和分析的态度，他用充满静穆感的笔触画着生活中的景物，鲜花、人物，此时没有了生命的旺盛，只有冷静的色彩铺满画布。他似乎在计算着生活中的点点滴滴，只用画笔蘸满颜色并填充着生活中的空白，可能是现实中缺少的，也可能是精神上所遗失的。
记 者：在您的作品中总是表现出对多元材料的偏爱，这和您的生活经历有关吗？
埃里克•A•弗兰德森(ERIK A.FRANDSEN)（以下简称埃里克）：这跟我的个人生活没有直接的联系。我是根据作品的基本概念来选择材料的。抛光的不锈钢镜面能把观者和周围环境映射到作品当中当观者移动，或者作品所在空间改变的时候，这些变化也会在作品中呈现。也就是说，观者参与到作品中，并能改变作品。与欣赏传统绘画时容易形成不对等关系的体验完全不同, 观者和作品间是一种平等的对话关系。
花和缎带等装饰性元素一方面是虚幻的主题图案，另一方面，它们的曲线和弧度让镜面的反射效果变得混乱，折射出扭曲的世界，创造出一个不一样的空间。所有的主题原型都是来自我的日常生活。例如，《椅子》是在纽约的小意大利拍摄的一景，《中国人》来自纽约的唐人街，还有我的妻子在切尔西酒店脱衣服的画面。这些画面都是很私人的生活片断，而大部分都是人们容易忽视的细节。但把这些小碎片放大到一张巨大尺寸的油画后，会不由得让人开始寻思这些细节的前后经过和结果。绘画意味着凝固的瞬间。这些凝固的瞬间支撑了空间的分级结构，但仍然给观者提供了一个窥视孔，并去留意事物的前后关系。
记 者：世界上有无穷无尽的材料可以选择，您有没有喜欢却不知道用意的材料，材料是您作品的出发点吗？
埃里克：我想这个问题已经在上一个问题中有所说明。我没有所谓的最喜欢的材料，但会一直尝试根据具体的作品概念来选择匹配的材料。
记 者：您的作品注重语言的突破，从艺术本体论来看，材料的创造是否是您作品的全部？
埃里克：我并不这么认为。对我而言，最重要是材料的应用要能实现作品意念的理想的表现效果。我并不是迷恋材料本身。
记 者：您的作品中常出现不锈钢等冷漠的材料，材料中又反射出观众和环境的倒影，这是否意味着你在利用材料来反观世界，现实中的世界和材料中的世界有区别吗？
埃里克：我觉得不锈钢作品并不冷。几乎相反，我觉得它是暖的，而且很诱人。但不锈钢的概念和想像指涉是冰冷的。我想在观者和镜中的世界之间形成一种薄膜状的关系。就像在冷冰的窗户上呵气一样。普通的镜面影射因为雕刻的花朵线条而扭曲变形。观者在每一幅作品里看到的效果都不一样。每一幅作品都改变了观者的物理形状。
记 者：您的绘画作品中常常加以装置或三维物体的形式，这样会不会破坏绘画本身的单纯性或将作品复杂化？
埃里克：我觉得自己是一个概念画家。尝试创造能定义观者身份的空间。这种空间能给观者提供一个反映自身存在的可能性。
记 者：是什么机缘促使了这次在中国林冠画廊的个展？
埃里克：这次展览是受林冠画廊（北京）邀请所举办的。下半年，我将在深圳关山月美术馆举办大型的个展。
记 者：这次来北京玩得高兴吗？对北京的印象怎样？
埃里克：我在北京仅停留了4天。时间太短了。这个城市的友善、好客给我留下了美好的回忆。而人们对我的展览如此感兴趣,让我很是感动。我非常期待能再次回到中国。
埃里克•A•弗兰德森作品图
Question: The intention to explore a huge variety of material seems to be the character in your artworks. Does that have anything to do with your personal life?
ERIK A.FRANDSEN：It is not directly connected to my life.
I pick the materials according to the basic idea in the work.
The mirror polished steel works is created to bring the spectator in
the center. Whenever the spectator moves, the room/space changes.That
means the spectator can make changes.
Compared to the looking at a traditional artwork which somehow is
hiracic, this gives a more flat structure in the dialogue between
spectator and the space.
The decorative elements as the flowers and the ribbons is a, on one
hand, a vanitas motief, but one the other hand they curve the steel
plats so you get a more chaotic mirrorring of the world.
The paintings create a different room/space.
All the motiefs are from my private life.
The Chairs is from Little Italy in New York as is The Chinas ( From
China town; New York) and the work of my Wife undressing ( Chelsea
Hotel, New York)
All this motiefs is of a very private sort.
Mostly things or incidents that you normally would pass by.
But making these short moments in such a big size and in oil paint
ass well, gives you the feeling of something had happend before the
the painting and after the painting. But the painting represent a
frozen moment.
These frozen moments support the hiracic structure of the space, but
gives you a loophole by telling you that there is a before and a after.
Question: Why do you put so much importance on the media? What is your favorite material? Is there any material that you like but at the same time you find it rather elusive?
ERIK A.FRANDSEN：I think some of this question is answered above.
And, no I have no such thing as favorite materials.
I am trying to use the right material to the specific idea.
Question: From the perspective of art ontology, do you take the creating of the material itself as the creation of the artworks?
ERIK A.FRANDSEN：No.
For me the most important thing about the different materials their
appearance when the work are finished.
I don`t regard the material as a fetish.
Question: The stainless steel sculptures look so cold, reflecting both the viewers and the exhibition space. Are you using the material to reflect the world? What are the differences between the real world and the world reflected in the material?
ERIK A.FRANDSEN：First I may say that I don`t find the steel works cold.Almost on
the contrary.
I find them very warm and seducing.
But the idea of steel, the imagination of steel, is regarded as cold.
I think I am creating a membrane between the spectator and the
mirrored world.
Like warm breath on a cold window.
The normal mirror effect has been disturbed by the curves of the
steel.In each work the spectator looks different. Each works changes
the physics of the spectator.
Question: Your paintings often unfold either as installation or three-dimensional object. What are the reasons?
ERIK A.FRANDSEN：I regard myself as a conceptual painter.
I am creating spaces.
Spaces in the sense of defining the role of the spectator.
Spaces that gives the spectators the possibility to reflect on their
existence.
Question: What’s the story behind that makes this solo show happen in China?
ERIK A.FRANDSEN：I was invited from the Faurschou Gallery Beijing.
And later this year I am having a large solo show at the GUAN
SHANYUE ART MUSEUM in Shenzhen．
Question: Have you enjoyed the trip in Beijing? What’s your impression on this city?
ERIK A.FRANDSEN：I have only had 4 days in Beijing. That is too short time. But from
what I saw it looked like a very hospital city.
I really enjoyed my visit.
And I find the interest in my exhibition very touching.
I am looking very much forward to come back.
埃里克•A•弗兰德森作品图
延伸阅读：林冠和埃里克 A 弗兰德森，798的观众全都来了（现场及作品图）
埃里克·A·弗兰德森(ERIK A.FRANDSEN)艺术简历
【编辑：姚丹】
