Shhh. Listen.
嘘……听。
Nothing?
什么也没有?
Listen again.
再听。
Note the sound of your computer’s fan amid distant sirens. Hear your spouse in the next room, playing the Bowie channel on Spotify while chatting on the phone with your mother-in-law. Farther off, a TV is tuned to the news and a stereo plays Bach, while a mouse skitters inside a wall.
注意:在远方的汽车喇叭声中,夹杂着你的电脑风扇的声音。倾听伴侣在隔壁一边用Spotify播着鲍伊频道,一边和母亲通电话。更远的地方,有电视刚转到新闻频道,一台立体音箱放着巴赫,墙壁里有一只小老鼠爬来爬去。
And know that every one of those sounds can now be the subject of art, just as every vision we see and imagine, from fruit in a bowl to the color of light to melting clocks, has been grist for painting and sculpture and photos. Sound art has been on the rise for a decade or two, but it may have at last hit the mainstream: On Saturday, the Museum of Modern Art is opening its first full sonic survey, “Soundings: A Contemporary Score,” while two major sound installations are to go up in New York in the fall.
要知道,所有这些声音如今都可以成为艺术题材,就像我们看到和想象到的所有画面都可以成为绘画、雕塑和摄影的素材一样——从碗里的水果到光的色彩与溶化的时钟。声音艺术是在近一、二十年内崛起的,但它可能刚刚走进主流:星期六MoMA开办了它的第一个完整的声音艺术全面展览:“声音:当代记录”(Soundings: A Contemporary Score),今年秋天,有两件大型声音装置将在纽约建起。
“The art of sound questions how and what we hear, and what we make of it,” the curator Barbara London writes in her catalog essay to the Modern show — which means the movement has purchase on a lot that matters. Perched in an office high above MoMA’s garden, where her exhibition will insert stealthy recordings of bells, Ms. London explained that artists are more than ever drawn to sound art, maybe because it sits on the exciting double cusp, as she said, of both music and gallery art. Her new show (or should we call it a “hear”?) reflects the “apogee,” as she put it, that sound art has now reached.
“声音艺术质疑我们倾听的方式和内容,以及我们如何去理解它们,”策展人芭芭拉·伦敦(Barbara London)在MoMA展览的目录介绍文章中写道——这意味着声音艺术这一运动中有大量这种主题。伦敦女士的办公室可以俯瞰MoMA的花园,这次展览中就有在花园里偷偷录下的钟声。她坐在办公室里,解释艺术家们何以日益受声音艺术吸引,她说,也许是因为它涉及两个令人兴奋的尖端领域:音乐和画廊艺术。她的新展览(我们是不是干脆把它叫做“听”好了)用她的话来说,反映了声音艺术如今所到达的“最高点”。
Ms. London’s survey will include those recorded bells, by the American soundster Stephen Vitiello, as well as recordings made near Chernobyl by Jacob Kirkegaard, a Dane, and a grid of 1,500 small speakers, each playing a different tone, by the young New Yorker Tristan Perich. It will also feature the Glasgow-born Susan Philipsz, whom the larger art world has taken to heart.
伦敦女士的展览包括美国声音艺术家斯蒂芬·维泰洛(Stephen Vitiello)录下来的钟声,丹麦艺术家雅克布·柯克加德(Jacob Kirkegaard)在切尔诺贝利附近录下的一些声音,还有年轻的纽约人特里斯坦·帕里奇(Tristan Perich)用1500个小扬声器制作的作品,每个扬声器都播放一种不同的声音。此外还有格拉斯哥的苏珊·菲利普兹(Susan Philipsz)的作品,她已在更为广泛的艺术界获得认可。
At the Modern, Ms. Philipsz will be reprising a 2012 work from Germany’s Documenta, the twice-a-decade festival that is one of the world’s most prestigious artistic events. Her “Study for Strings” riffs on an orchestral piece composed in 1943 at the Theresienstadt concentration camp for musicians there. For her recording, Ms. Philipsz has redacted the parts for all the instruments except one cello and one viola, leaving plangent silences between those two players’ scattered notes — and, of course, evoking the erasure of musicians and artists by the Nazis.
在MoMa的展览上,菲利普兹将重新带来她在2012年德国Documenta展上的作品,该展5年举办一次,是世界上最负盛名的艺术盛事。她的作品《为琴弦而学习》(Study for Strings)重复演奏着1943年在特莱西恩施塔特(Theresienstadt)集中营,为被关押在那里的音乐家们创作的一段交响乐。在她的录音中,菲利普兹重新编配了所有乐器的声部,只有一把大提琴和一把中提琴保留了原声,哀婉的沉默在两位乐手零散的音符之间回响,这自然会令人想起被纳粹杀害的音乐家与艺术家们。
“For the public, sound art it still a fairly new and also a very, very accessible medium,” said Tom Eccles, the curator of a new Philipsz commission this fall in New York. “On a very basic, basic level,” he added, “sound is one of our first experiences — in the uterus, in fact.”
今年秋天,菲利普兹将在纽约开展一个新项目,活动策展人汤姆·埃克勒斯(Tom Eccles)说:“对于公众来说,声音艺术仍然相当新鲜,也是一种非常非常容易理解的媒介。”他补充说,“在一个相当基础的层次,声音是我们最初的体验,事实上,在子宫里就能听到声音。”
Ms. Philipsz’s new piece, called “Day Is Done,” will be the first permanent work of contemporary art on Governors Island, a former military site just south of Manhattan whose public spaces are being revamped with a budget so far of $75 million. Ms. Philipsz is mounting four old-fashioned “trumpet” speakers — the kind you’d see in an old ballpark — across the facade of a sprawling old barracks, and for an hour every evening, they will broadcast the notes of the bugle call “Taps.” The tones of the ghostly melody will pass from speaker to speaker, fanning out across the island’s open spaces.
菲利普兹的新作名叫《一日已过》(Day Is Done),将成为总督岛上第一个常设现代艺术作品,总督岛位于曼哈顿以南,原本是一处军事基地,迄今它获得7500万美元的预算,用于改建其公共空间。菲利普兹在一片凌乱的旧兵营之外建起了四个老式“大喇叭”扬声器——就是你能在老棒球场上见到的那种,每天晚上,每个小时,它们都会广播出被称为“熄灯号”的号声。这个诡异的旋律的每个音符一个扬声器接一个扬声器地响起,传遍岛上的敞开空间。
At a test run one cold day in the spring, the piece evoked the era when “Taps” would have been played daily on the island, while it also triggered thoughts of military funerals and loss of life. (On Sept 11, those on the island were able to see the collapse of the twin towers.)
作品的测试在一个寒冷的春日进行,作品令人联想起“熄灯号”每天都在这个岛上响起的时代,也会让人想起军中葬礼和死亡(那年9月11日,在岛上的人可以看见双子塔的倒塌)。
“Day Is Done” also evokes New York’s maritime presence. Visiting from her home in Berlin for the test run, Ms. Philipsz said that after the recording had played on site for the first time, “we thought it was still on.” She added: “But it was the sound of a ship’s horn. We were so happy.”
《一日已过》也会让人想起纽约的海运背景。菲利普兹从柏林家中赶来观看测试,她说场地第一次播放录音之后,“我们仍然觉得余音袅袅,”她说,“但那其实是一艘轮船的汽笛声。我们都非常高兴。”
Mr. Eccles pointed out that with a piece like “Day Is Done,” “you don’t have to recognize it as art, immediately” — meaning that any knee-jerk resistance to contemporary art is less likely to kick in. “A sound work allows you to do something quite complex that might be unacceptable in another medium,” he said.
埃克勒斯指出,对于《一日已过》这样的作品,“你不必马上就认出它是艺术。”他的意思是说人们不太可能会对它产生那种对当代艺术的本能抗拒反应。“一件声音艺术能让你做出在另一种媒介中可能不被接受的非常复杂的事情,”他说。
That could be because of the role MP3s and podcasts now play in our lives and because of our new comfort with the immaterial world of pure data, which makes immaterial sound art seem less esoteric. Sound waves floating through air may not seem any more exotic than information flowing through cyberspace.
这可能是因为MP3与“播客”在当今生活中扮演的角色,也可能是因为纯数据虚拟世界提供给我们的新便利,这一切让没有实体的声音艺术变得不那么深奥难懂了。声波漂浮在空中,这或许并不比数据漂浮在网络世界更加奇异。
There’s yet another ambitious sound piece about to open in New York. On Sept. 10, the Metropolitan Museum will present “Forty Part Motet,” an installation by the Canadian Janet Cardiff that may be one of the best works, in any medium, of the last decades and the first work in sound at the Metropolitan. A piece like Ms. Cardiff’s “opens people’s eyes to a different art form that they wouldn’t expect to see at the Met,” said Anne Strauss, the project’s curator. “It’s something we can provide more easily, than, say, performance art.”
还有一项充满雄心的声音艺术将在纽约开放。9月10日,大都会博物馆将展出《40声部赞美诗》(Forty Part Motet),这是由加拿大的詹尼特·卡迪夫(Janet Cardiff)制作的装置作品,它或许能跻身最近几十年来各种媒介中最好的作品之一,也是大都会博物馆中展出的首件声音艺术作品。这件作品“打开了人们的视野,指引他们认识一种从未料到会在大都会博物馆看到的、与众不同的艺术”,该项目策展人安妮·斯特劳斯(Anne Strauss)说,“我们推出这样的作品比推出表演艺术要容易。”
We were meeting far uptown in Manhattan, in a 12th-century chapel at the heart of the Met’s Cloisters branch, now celebrating its 75th year as a home for medieval art. The 40 speakers of Cardiff’s piece will be installed in a ring in that chapel, each one transmitting the sound of a single musical part from the choral extravaganza “Spem in Alium,” composed around 1570 by Thomas Tallis. Ms. Cardiff’s piece manages to take one of the most imposing masterpieces of Western music and reduce it to modest human elements. As you sidle up to any one speaker, the single voice you hear seems frail and at sea, and that stands in touching contrast to the grand effect that comes when you stand in the work’s center and hear all 40 parts combined. Wherever “Forty Part Motet” gets installed, a visitor or two often leaves in tears.
我们在曼哈顿上城见面。大都会博物馆修道院分馆的核心是一栋12世纪的礼拜堂,如今它正在庆祝自己的中世纪艺术展75周年纪念。卡迪夫作品中的40个扬声器将会在修道院中以环形摆放,每个扬声器都会传出合唱的宏大曲目《除了主不信他人》(Spem in Alium)选段,该曲1579年左右由托马斯·塔利斯(Thomas Tallis)谱写。卡迪夫的作品选取西方音乐中最宏伟的杰作之一,将它分解为普通的各个人声部分。当你悄悄走近一个扬声器,只会听到微弱飘渺的单一人声,但当你站在整个作品中间,听着40个部分组合起来,就会感受到宏大的效果,二者形成鲜明对比。不论《40声部赞美诗》在何处展出,总会有几个参观者离去时含着眼泪。
The market has noticed sound art’s achievements. “I kind of resigned myself that I would never make any money,” Ms. Philipsz said. In fact, she’s now doing fine. She sold all three copies of her first installation at Tanya Bonakdar, the New York gallery that took her on in 2007. According to the gallery director, Ethan Sklar, her piece in the show at the Modern, also in an edition of three, is priced at almost $150,000. Mr. Sklar spoke of the appeal of Ms. Philipsz’s art to “collectors and institutions who are looking for the strongest and most challenging work.”
市场已经注意到声音艺术的价值。“我本来已经放弃了,觉得自己不可能挣到钱,”菲利普兹说。事实上,她做得相当不错。她首批制作的3件声音艺术装置已在谭亚·博纳科达(Tanya Bonakdar)全部卖出,这家纽约画廊在2007年展出了她的作品。根据画廊经理伊森·斯科拉(Ethan Sklar)所说,菲利普兹在MoMA展出的作品也是三件联展,标价接近15万美元。斯克拉说菲利普兹的作品“对于寻找最有力量、最有挑战性作品的收藏者和机构而言”很有吸引力。
It also doesn’t hurt, he pointed out, that there are fewer headaches in storing and shipping a Philipsz data disc than some massive sculptural piece, although her sound fills space just as impressively: “You can have an epic work that comes down to a box.”
他指出,和大件雕塑作品相比,菲利普兹作品的数据光盘不存在存储和运输问题,这一点对作品的出售也是有益无损,况且她的声音艺术和雕塑一样可以充满空间,打动人心:“你可以拥有一件用盒子就能装起来的史诗级作品。”
But it is still early days in the marketing of sound art. Both the auction houses Sotheby’s and Christie’s say that they have not sold a single sonic work, whereas they’ve begun to get good prices for major videos. Sound art’s vaguely unworldly air may actually increase its appeal.
但是声音艺术市场仍然处于初期阶段。苏富比和佳士得两大拍卖行都说,尽管录像艺术已经渐渐开始能够卖出好价钱,但他们尚未出售过声音艺术作品。声音艺术那种略带不食人间烟火的感觉可能会增加它的吸引力。
“It’s not really commodified at this moment, which makes it approachable,” Ms. London said. “All of these works have a poetry, and a fleetingness.”
“目前它其实还没有被商品化,这使它显得平易近人,”伦敦女士说,“所有这些作品都有诗意,有种飘渺易逝的感觉。”
The mainstream’s embrace of sound art may mask something peculiar: that even as the field reaches new heights, it’s also in crisis. Art-trained figures like Ms. Philipsz and Ms. Cardiff, who build work around the sounds that we care most about — and who resist the whole idea of a coherent genre called “sound art” — are up against a sonic old guard, sometimes including younger figures, that one artist has referred to as the “honk-tweet” school.
主流对声音艺术的接纳可能会掩盖其他问题:即便在这样一个仍在探索新高峰的领域,也会有危机存在。菲利普兹和卡迪夫这样接受过艺术训练的人会用我们最关注的声音来构建作品,同时她们也抵制那种将这个种类统称为“声音艺术”的整体观念,她们面临着声音领域的老守卫(有时也包括一些年轻人),那就是被归类为“喇叭尖声”流派的人。
Aligned with experimental music rather than visual art, the honk-tweeters are interested in strange beeps and buzzings for their own sakes. They craft what the sound artist, theorist and blogger Seth Kim-Cohen refers to as purely cochlear, rather than fully mindful, sound art.
这种“喇叭尖声”派支持实验音乐,胜于视觉艺术,他们出于自己的理由,对奇异的哔哔声和嗡嗡声非常感兴趣。用声音艺术家、理论家与博客写作者塞斯·基姆-科恩(Seth Kim-Cohen)的话说,他们擅长的纯粹是一种刺激耳蜗的声音艺术,而不是经过充分深思熟虑的声音艺术。
In June, Mr. Kim-Cohen chided the survey at the Modern for including such work, which he described as the sonic equivalent of Op Art, a movement in painting “that does not demand (or merit) serious critical response,” as he has written. “Surely,” he blogged, “if the (visual) art world is now willing to embrace sound, it should do so according to the same criteria of quality and engagement that it demands of other media.”
在6月,基姆-科恩指责MoMA的展览中收录这样的作品,他说这样的声音相当于欧普艺术(Op Art),一种如他所写,“不需要也不值得引起严肃评论”的绘画运动。“当然,”他在博客中写道,“如果(视觉)艺术世界如今乐于接受声音,就应当对其采取与其他媒介相同的质量和义务标准。”
Caleb Kelly, a scholar who recently published a book called “Sound,” compiling a range of essays on the art form, said he believes that pieces like Ms. Cardiff’s “Motet,” or the riffs on Hollywood soundtracks by the Swiss art star Christian Marclay, will still matter in a century, whereas today’s honk-tweeters (“dial twiddlers,” Ms. Philipsz calls them) will likely disappear, if they keep doing retreads of John Cage’s postwar innovations.
学者卡勒布·克里(Caleb Kelly)最近出版的新书名叫《声音》(Sound),其中收录了一系列关于这种艺术形式的文章。他说自己相信卡迪夫的《赞美诗》,或瑞士艺术明星克里斯坦·马克莱(Christian Marclay)使用好莱坞配乐音轨制作重复乐段这类的作品在一百年内都会十分重要,同时当今的喇叭尖声派们(菲利普斯管他们叫“仪表操纵者”)将会消失——如果他们继续不断重复约翰·凯奇(John Cage)战后那些创新的话。
Sound artists like to point out that while you can close your eyes to an image you hate, you can’t close your ears to a noise. That gives them power but also puts them at risk. If a honk or a tweet does no more than annoy, visitors will vote with their feet.
声音艺术家们想指出,当你看到一幅讨厌的画面时,可以闭上眼睛,但当听到噪音时,却无法完全捂住耳朵。这赋予它们力量,但也令它们面临风险。如果一个喇叭声,或者一个尖锐的鸣叫声只是让你感到讨厌,参观者就会转身离去。
(编辑:石头)
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