99艺术网快讯：（翻译/陈颖）今年的“艺术无限”展迎来了它的第十个年头，接纳了来自世界24个过节的59名艺术家。这一志向远大的当代艺术展由瑞银集团慷慨赞助，它拥有的艺术家队伍就如世界当代艺术舞台的一个缩影。1号展厅中的很多展品都是为此次展览而特别创作的，而在旁边的“艺术无限厅”，“艺术陈述”板块被留给了今年的27位年轻艺术家，从而为他们作个人展示提供机会。在“艺术无限厅”里，还有各种艺术书籍，艺术碟片，以及一个影像资料室，一个艺术工作室和一个书店。
自2000年首次开展以来，已有许多世界知名的当代艺术家参加“艺术无限”展。今年展览的主题仍由会长西蒙•拉慕尼埃尔（Simon Lamunière）制定，这一主题由参展者提议中得出，和之前几年的主题并无特别差异。
除了在主要区域广泛分布有艺术展出之外，“艺术无限”还在商店里提供令人兴奋的发现。在面积一万两千平方米的展厅里，“艺术无限”为那些超越传统艺术展位可能性的作品提供了一个很好的平台。这里展出有超大号的雕塑，影响投射，墙上作画，摄影系列和表演艺术。另外，有价值40瑞士法郎的限量版目录伴随出售，这一目录首次包含了对1号厅及Messeplatz每件展品的描述。
今年的展览包含igmar Polke, Lawrence Weiner, Franz Erhard Walther, Mel Bochner, Bruce Connor, Daido Moriyama, Nan Goldin, Hans-Peter Feldmann and Jesús Rafael Soto等传奇性艺术家的作品，同时也有Thea Djordjadze, Ayse Erkmen, Bharti Kher, Mai Thu Perret, Falke Pisano, Sterling Ruby, Banks Violette and Andro Wekua.等逐渐崭露头角的年轻艺术家。
以下参展艺术家由选委会选出：
Giovanni Anselmo, Tucci Russo Studio per l’Arte Contemporanea, Torre Pellice, Torino
Stephan Balkenhol, Mai 36 Galerie, Zürich; Galerie Löhrl, Mönchengladbach; Stephen Friedman Gallery, London; Galerie Thaddaeus Ropac, Paris / Salzburg
Joseph Bartscherer, Galerie Nelson-Freeman, Paris
John Beech, Galerie Gisèle Linder, Basel; Peter Blum Gallery, New York
Elisabetta Benassi, Magazzino D’Arte Moderna, Roma
Mel Bochner, Peter Freeman, New York; Nelson-Freeman Gallery, Paris
Willem Boshoff, The Goodman Gallery, Johannesburg
Vincenzo Castella, Studio la Città, Verona
Chen Zhen, Galleria Continua, San Gimignano/Beijing/Le Moulin
Anetta Mona Chişa & Lucia Tkáčová, Christine König Galerie, Wien
Clegg & Guttmann, Georg Kargl, Wien; Wilkinson, London; Lia Rumma, Mailand
Bruce Conner, Michael Kohn Gallery, Los Angeles
Matthew Day Jackson, Peter Blum Gallery, New York
Gabriele Di Matteo, Galería Pepe Cobo, Madrid
Thea Djordjadze, Monika Sprüth Philomene Magers, Berlin / London / Köln
Nathalie Djurberg, Giò Marconi Gallery, Milano
Tatjana Doll, Cristina Guerra Contemporary Art, Lisboa; Galerie Gebr. Lehmann, Dresden / Berlin
Ayşe Erkmen, Galerist, Istanbul; Galerie Barbara Weiss, Berlin
Hans-Peter Feldmann, Konrad Fischer Galerie, Düsseldorf / Berlin
Nan Goldin, Matthew Marks Gallery, New York
Paul Graham, Anthony Reynolds Gallery, London
Fabrice Gygi, Galerie Chantal Crousel, Paris
Håvard Homstvedt, Galleri Riis, Oslo
Roni Horn, Hauser & Wirth Zürich, Zürich / London
Bharti Kher, Hauser & Wirth Zürich, Zürich / London
Moshekwa Langa, Bernier/Eliades Gallery, Athens; The Goodman Gallery, Johannesburg
Li Dafang, Galerie Urs Meile, Beijing / Luzern
Joseph Marioni, Galerie Mark Müller, Zürich
Anthony McCall, Sean Kelly Gallery, New York; Galerie Thomas Zander, Köln
mentalKLINIK, Galerist, Istanbul
Aernout Mik, carlier gebauer, Berlin
Daidō Moriyama, Taka Ishii Gallery, Tokyo; Galleri Riis, Oslo
Farhad Moshiri, Galerie Rodolphe Janssen, Bruxelles
Natsuyuki Nakanishi, SCAI The Bathhouse, Tokyo
Yoshitomo Nara, Marianne Boesky Gallery, New York; Blum & Poe, Los Angeles;
Tomio Koyama, Tokyo
Hans Op de Beeck, Galleria Continua, San Gimignano / Beijing / Le Moulin
Sarah Oppenheimer, Annely Juda Fine Art, London; Galerie von Bartha, Basel
Manfred Pernice, Galerie Neu, Berlin; Anton Kern Gallery, New York; Mai 36 Galerie, Zürich
Mai-Thu Perret, Timothy Taylor Gallery, London
Goran Petercol, Galerija Gregor Podnar, Berlin / Ljubljana
Falke Pisano, Balice Hertling, Paris
Sigmar Polke, Michael Werner Gallery, New York
Sterling Ruby, Galleria Emi Fontana, Milano
Steven Shearer, Galerie Eva Presenhuber, Zürich
Sudarshan Shetty, Galerie Krinzinger, Wien
David Shrigley, Galleri Nicolai Wallner, Copenhagen; Stephen Friedman Gallery, London
Nedko Solakov, Galleria Massimo Minini, Brescia
Jesús Rafael Soto, Galerie Hans Mayer, Düsseldorf
Fiona Tan, Frith Street Gallery, London
Pascale Marthine Tayou, Galleria Continua, San Gimignano / Beijing / Le Moulin
Santeri Tuori, Galerie Anhava, Helsinki
Marcel van Eeden, Galerie Bob van Orsouw, Zürich
Banks Violette, Team, New York; Gladstone Gallery, New York
Franz Erhard Walther, Galeria Vera Munro, Hamburg
Lawrence Weiner, Lisson Gallery, London
Andro Wekua, Gladstone Gallery, New York; Galerie Peter Kilchmann, Zürich
Sislej Xhafa, Magazzino D’Arte Moderna, Roma
Xu Zhen, Long March Space, Beijing
Beat Zoderer, Galerie Mark Müller, Zürich; Galerie von Bartha, Basel
以下介绍一部分“艺术无限”展的展品：
In a career spanning more than 40 years, Sigmar Polke (Michael Werner Gallery, New York)
has consistently reimagined the nature and role of painting with a radically inventive approach
to material and process. Throughout his career the artist has explored an interest in implied connections to “higher powers” and other worlds through the use of unconventional materials such as meteor dust, magnetic graphite, pure violet, cinnabar, and silver oxides, to name only a few. In the early 1990s, he began a series of monumental paintings called “Cloud Paintings” (1992). The “Cloud Paintings” at Art Unlimited is the only installation of its type by Polke and exerts the mystery and magic of this mercurial artist at his greatest.
“The Ballad of Sexual Dependency” (1973-1986) is the central work in the career of Nan Goldin (Matthew Marks Gallery, New York). Beginning as an impromptu evening performance in a New York nightclub in 1979, “The Ballad of Sexual Dependency” took its present form in the early 1980s and has continued to evolve over the years as a slide presentation employing over 700 images. The original portfolio of prints from the publication that informed this masterwork has until
Art 40 Basel never been on public view in Europe.
“a. k. a.“ (2008/09), the most recent photographic installation by Roni Horn (Hauser & Wirth Zürich, Zürich / London) continues a line of portraiture that Horn has developed over the years in the larger context of her oeuvre. In each of these works the viewer is implicated as a second subject. Pairing and doubling have been recurrent motifs in Horn’s work for many years and “a. k. a.“ is the latest manifestation of these interests.
Four transparent cubes in black, white, yellow, and blue are arranged before us in a mind game that Mondrian might have played had the transparent material been available to him. The Venezuelan artist Jesús Rafael Soto (Galerie Hans Mayer, Düsseldorf) was well-known for his Op Art and kinetic sculpture, and for his association with Jean Tinguely and Victor Vasarely. Soto is particularly known for his “penetrables”, interactive sculptures consisting of square arrays of thin, dangling tubes. The work “Untitled” (1970) he presents at Art Unlimited, made their last appearance at the Mannheimer Kunstverein, Germany, in 1970.
In “Universe” (2008), a major new body of work, Stephan Balkenhol (Mai 36 Galerie, Zürich; Galerie Löhrl, Mönchengladbach; Stephen Friedman Gallery, London; Galerie Thaddaeus Ropac, Paris / Salzburg) presents five large architectural and sculptural reliefs. Bringing together two-dimensional and three-dimensional planes, the artist combines carvings and reliefs of his “everyday man” alongside landscapes, city scenes, nature, and detailed patterns.
South African artist Willem Boshoff (The Goodman Gallery, Johannesburg) has lived like a Druid for much of his life. For the duration of the art show, Boshoff will reside in a custom-made cubicle where the spectator can observe the “Big Druid” (2009) in his otherworldly battles with shadows, aesthetic constructs, and words. The cubicle has an area of retreat, which is outfitted with exhibition shelves and a work area where “Big Druid” makes and shows artworks and the thought processes behind them.
In her sculptures, Thea Djordjadze (Monika Sprüth Philomene Magers, Berlin/ London/Köln) often uses perishable, fragile everyday materials that are derived from the vocabulary of domesticity and hint at femininity, such as plaster, ceramic, silicon, sponge, cardboard, textiles, and soap. The artist’s drawings and watercolors are often part of the installations, doubling and heightening their expressive impact and also underlining the fragmentary, unfinished state of the work.
Swedish artist Nathalie Djurberg (Gió Marconi Gallery, Milano) began working on larger scale in 2008, including installations and bigger sculptures into her filmic work. The installation “The Rhinoceros and the Whale” (2008) consists of a wooden structure, on which the animated film “Putting Down the Prey” (2008) is projected. On the reverse side of the screen, one can see the animation “The Rhinoceros and the Whale”. Both films are connected, one showing a girl hunting down a walrus, cutting it open and sewing herself into the body, the other one presenting a monstrous woman giving birth to a rhinoceros.
Tatjana Doll (Cristina Guerra Contemporary Art, Lisboa; Galerie Gebr. Lehmann, Dresden/Berlin) presents “Container Ship” (2009), an almost ten-meter wide painting that depicts the back of a container ship. On top of this are 24 additional paintings stacked in four rows of six, each measuring 190 x 160 cm, where each quasi-monochrome painting represents a container.
Hans-Peter Feldmann (Konrad Fischer Galerie, Düsseldorf / Berlin) exhibits “100 Jahre” (1996-2000), comprised of 101 black-and-white photographs depicting 101 different persons from the age of 8 weeks to 100 years. Clockwise, beginning at the far left, the first photograph depicts the baby “Felina”, subsequently followed by “Jana (1 Jahr)”, “Richard (2 Jahre)”, and so on. The row ends with “Maria Victoria (100 Jahre)” to the right side of the entrance, yielding to a notion of having completed a life circuit.
“The Waq Tree” (2009) by Bharti Kher (Hauser & Wirth Zürich, Zürich / London) references the Waqwaq Tree of Islamic tradition, the Speaking Tree, a tree of hallucinations or epiphanies. Its trunk suggests the dryness of bone, while its fruits suggest living skin that has ripened slowly to wax. The branches bear more than 2,500 fruits in all; each fruit is a head, either human, gnomish, angelic, animal or chimera.
Anthony McCall (Sean Kelly Gallery, New York; Galerie Thomas Zander, Köln) is well-known for his “Solid Light” installations, a body of work that began in 1973 with his seminal “Line Describing a Cone”, in which a volumetric form composed of projected light slowly evolved in three-dimensional space. Occupying a zone somewhere between sculpture, cinema, and drawing, “Leaving (with Two-Minute Silence)” (2009) is the latest work in a new series started in 2003 and incorporates a sonic “shroud” as a central structural element.
The video installations of Aernout Mik (carlier gebauer, Berlin) look like trial runs, reconstructing events on the periphery of social reality in lavishly depicted situations, through everyday confrontations such as the travelers at the security check in an airport in “touch, rise and fall” (2008). Mik’s mise-en-scène depicts a scenario shaped and forged by hierarchy. No clear narrative has been supplied; instead, his work extrapolates the extremes of order to such an extent that the camera ends up floating through the absurdity of a crumbling reality characterized by repetitions, recasting, and mimetic courses of action with an almost ritual air and irrational excess.
“Torre de Málaga” (2007) by Yoshitomo Nara (Marianne Boesky Gallery, New York; Blum & Poe, Los Angeles; Tomio Koyama, Tokyo) was conceived for the artist’s exhibition at the Centro de Arte Contemporáneo in Málaga, Spain, in September 2007. The installation, created with Nara’s collaborative group YNG, consists of a wooden structure made from recycled materials and inspired by the museum building. At the base of the construction is a space modeled after the artist’s own studio, which reveals paintings, sculptures, and dozens of drawings.
Hans Op de Beeck (Galleria Continua, San Gimignano / Beijing / Le Moulin) has created the monumental sculptural installation “Location (6)” (2008), based on the historic panorama constructions created over the past two centuries particularly in Europe. “Location (6)”, is made up entirely of a sculpted trompe l’oeil grove, replete with fog and white light, evoking a vast snowy landscape of barren trees viewed from central observatory, and reached via a long, narrow corridor.
Marcel van Eeden (Galerie Bob van Orsouw, Zürich) was born 1965 in the Netherlands and this date is crucial for his oeuvre. His small format pencil-on-paper drawings are based on motifs taken from magazines, books, and archives, all dated from before the year of the artist’s birth. A new series of approximately 80 framed drawings presented at this year’s Art Unlimited feature the imagined collection of Matheus Boryna, who is distinguished for being an art lover fascinated by art-world outsiders rather than well-known artists. Each fictive artwork has been given the stamp of the great Matheus Boryna collection, “M.B.”, just as once was the common procedure with precious collections of works on paper.
“By the Window” (2008) by Andro Wekua (Gladstone Gallery, New York; Galerie Peter Kilchmann, Zürich) combines sculpture and film to create a liminal space, both physically and psychologically. The installation as a whole, mixing different media, collages both found and imagined imagery with charged emotions to create a world of Wekua's creation, a world in which the viewer must remain forever perched on the threshold of understanding.
The provocative work titled “The Starving of Sudan” (2008) by Xu Zhen (Long March Space, Beijing) re-enacts the tragic situation of the 1994 Pulitzer Prize-winning photograph taken by Kevin Carter, who committed suicide shortly after receiving the award. For Xu Zhen, the complex system of interpretation that was controversially built around the context and reception of Carter’s photograph is problematic, particularly in relation to the plight of this young baby being left unknown. Xu Zhen’s work thus calls into question the relationship of power between viewer and work; between concept and ethics; between passivity and subjectivity.
【编辑：霍春常】
