曼努埃尔Vason 当代作品

协作行动＃1为首的曼努埃尔Vason，第三塞萨洛尼基表演展，当代艺术双年展第四届2013中创建的工作

ManuelVason's artistic practice explores the relationship betweenphotography andperformance.曼努埃尔Vason的艺术实践探索摄影和性能之间的关系。 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.艺术家认为的时刻捕捉创作的行为，一种仪式，有助于对不朽的幻想，而该人在镜头前和背后的一个之间交换的行为。The collaborative nature of his practice shapes aunique hybrid art form while also developing new vocabularies forart practice and arttheory.他的实践的合作性质塑造一个独特的混合的艺术形式，同时也发展为艺术实践和艺术理论的新词汇。Hiscollaborations to date have become known as some of the most iconicimages of performance.他的合作至今已成为众所周知的一些性能的最标志性的图像。

协作行动＃1为首的曼努埃尔Vason，第三塞萨洛尼基表演展，当代艺术双年展第四届2013中创建的工作

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.合作艺术家在第三塞萨洛尼基表演艺术节 -当代艺术双年展第四：亚历克西娅法拉，安德烈亚斯Pashias，安东尼Dalkiranidis，克里斯蒂娜乔治乌，莱拉Ramoglou，玛丽亚Kremeti，奥尔加Brouma，塔利亚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.曼努埃尔Vason出生于意大利帕多瓦，1974年曾协助一些他那一代最有名的时尚摄影师在米兰，纽约，巴黎，伦敦和洛杉矶之后，他追求的美术硕士学位在中央圣马丁在艺术在伦敦大学。Thefocus of his research then shifted from the body as a subject tothe relationship between photography andperformance.他的研究重点，然后从体内转移为主题的摄影和性能之间的关系。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出版了两本书：有关风险，对身体的行为艺术（黑狗出版） 呵呵情人男孩 ，记录一个为期两年的合作与艺术家弗兰科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有他的首次个展的遭遇，这是伴随着一个230页的目录（阿诺菲尼/的Cornerhouse）。 Hispractice is constantly evolving, with the artist integratingdifferent mediums and collaborative methods intoit.他的实践是不断发展的，与艺术家整合不同的媒介和协作方法进去。

过程中产生的工作'成为一个Image“第三塞萨洛尼基性能节日期间带领下曼努埃尔Vason协作行动车间，发给与会者当代艺术，2013年第四届双年展说明：您可以选择您或旁边的人你是什么一个单一的服装穿着。 Using a table as a plinth transform your bodyinto a sculpture that pleases you.使用表作为基座改变你的身体变成一个雕塑取悦你。 Transform the action into aphotograph. 转变成行动的照片。 Fold the photograph into anorigami. 折叠成一个折纸的照片。

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.成为图像（2013年至今）是VASON的第一部作品的机体不从一系列的合作与艺术家个人的，而是从一组环境中出现，其中VASON导致合作行动。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塞萨洛尼基性能节，这是当代艺术在希腊第四届双年展2013年10月的一部分，他发出他的车间与各种指令的参与者，但随后让性能展开提供给艺术“事件”的框架在不可预知的方式。Thepoint of departure for Vason's project is the concept of the 'Actof Exchange', which involves exchanges between participatingartists;临行VASON的项目点是“法交易所”，其中涉及参展艺术家之间的交流的概念;betweendifferent practices, cultures, languages andages;不同的做法，文化，语言和年龄之间; between different mediums ofexpression;表达不同介质之间; between the artist and the location where theactions is taking place;艺术家并且其中所述动作是正在发生的地点之间;andbetween the work produced and theviewers.和产生的工作和观众之间。 The images produced become a form of skin withwhich to cover surfaces and three-dimensionalobjects.图像出品成为皮肤的一种形式，用以覆盖面和三维物体。 In the process, ideas are transformed intoactions and then intophotographs.在这个过程中，想法转化为行动，然后进入照片。 Finally, the photographs become objects whichaspire to provoke new ideas.最后，照片成为其渴望挑起新的想法的对象。

过程中产生的工作'成为一个Image“第三塞萨洛尼基表演展，当代艺术展，2013年第四届双年展期间率领曼努埃尔Vason协作行动工作坊颁发给参与者说明：选择你的身体可识别你是谁具体细节。 Ask the person next to you to point out thisdetail with his/her tongue.问你旁边的人指出了这个细节，他/她的舌头。 Transform this action into aphotograph. 这转变成行动的照片。 Present the image created into a transparentcontainer immersed in water.提出创建成一个透明容器浸泡在水中的图像。

Yet theobjects produced are not the sole aim or outcome aim of theartwork.然而，生产的对象不是艺术品的唯一目的或结果的目的。 Rather, the subject of Vason's investigation isthe artistic process itself, which is identified with the word'becoming'.相反，VA​​SON的调查对象是在艺术创作过程本身，这是确定的字“成为”。Theartwork undergoes constant transformation while also confrontingits audience with a requirement to engage and comprehend it alwaysanew.该作品经过不断改造，同时也面对观众的是，要求参与和理解它总是重新。

过程中产生的工作'成为一个Image“第三塞萨洛尼基性能节日期间带领下曼努埃尔Vason协作行动车间，当代艺术，2013年第四届双年展发给与会者说明：选择一个句柄你特别喜欢。 Holdthe handle in your mouth and think of a specific door you wouldlike to open. 握住手柄含在嘴里，并认为一个特定的门你想开的。Transform the action into aphotograph. 转变成行动的照片。

ManuelVason in conversation with Photomediations Machine'scurator JoannaZylinska曼努埃尔Vason与Photomediations机的馆长交谈乔安娜Zylinska

JZ:Photography seems to play an important role in yourpractice. JZ：摄影似乎在实践中发挥了重要作用。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.而不是一个活的行为仅仅文档，东西是说冻结，从而消灭行动，它似乎被赋予一个更为重要力量，被提升到一个活性剂的性能本身的作用。Could you comment a little on how you seethis relation between performance and photography?你可以发表评论，一点点你如何看性能和摄影之间的关系？

MV: Mypoint of departure is that if you are interested in experiencing aperformance, you should encounter it live, in direct interactionwith its ：我的出发点是，如果你有兴趣在遇到性能，你应该遇到直播，在其演示的直接互动。 By no means do I intend to create images whichhave the arrogance of replacing or standing for the liveperformance.但这并不表示我打算建立具有替换或站立，现场表演的嚣张气焰图像。Mypractice is informed by the sense of frustration I experiencedevery time I had been asked to document a liveperformance.我的做法是无奈的我经历了每一次我被要求记录的现场表演感通报。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，并与表演艺术家的广泛对话，我从来没有假装要能够创建一个能够更换或站立，现场活动的文件。Therefore I decided to transform my frustrationinto a propitious drive and to experiment with an alternative formof photographicdocumentation.因此，我决定将我的沮丧变成一个吉祥的车程，尝试拍摄文档的另一种形式。

I havetried to document the live action working with a performance artistbefore and after his or her presentation in front of a liveaudience.我曾尝试记录一个表演艺术家的真人工作之前和之后他或她在现场观众面前呈现。I wouldtake a photograph using a large 10×8 Polaroid camera, allowing theperformance artist to present the action by responding to the'instant'image.我会拍一张照片采用大10×8宝丽来相机，让表演艺术家通过响应“即时”的形象呈现的动作。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.).通过这件事，我已经处理过的表演艺术家作为一个合作者，并分享了我与他们的摄影决策（决策方面来看，框架，重点，灯光，构图，等等）。I havearranged to stay at the performer's house with the aim ofdeveloping more intimacy and trust betweenus.我已经安排留在表演者的房子与发展我们之间更加亲密和信任的目的。 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.我曾协助创立的表演相机在特定地点的位置，从“白”墙壁画廊或剧院的“黑”背景的疏远我合作的目的。

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，其中一个新特性表示在两个图像的新书项目：在第一幅图像，我会是摄影师和第二我会由表演艺术家拍下的身体。I thinkperformance and photography share the concept of'presentation'.我觉得性能和摄影份额的“表演”的概念。 Both art forms tend to exhibit, both art formsaim to provoke an emotion in theaudience.这两种艺术形式往往表现出，无论是艺术形式的目的是激起一种情感的观众。But thetwo art forms have a different relationship withtime.但两种艺术形式与时间不同的关系。 While photography tends to encapsulate time,performance tends to develop withtime.而摄影往往封装时，性能趋于发展与时间。 Instead of insisting on the differences, I tendto mix the two art forms with the purpose of creating new forms ofextension or parallelexistence.而不是坚持的差异，我倾向于混合使用这两种艺术形式与创建或扩展并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：我想问你有关你的摄影媒介的特异性和调解它所创建的形式。 What is it about photography that pushed youto set it up in this relationship with performance?是什么样的照相推你设置它与性能这种关系？ (Why are you using photography and not, say,drawing – which could probably do the job of representation in atechnical sense, even if less accurately?)（你为什么要使用摄影而不是，比方说，绘画-这也许可以做到在技术意义上的代表的工作，即使较准确？）

MV: Itrained as a photographer before I encountered performanceart. MV：我受训成为一名摄影师之前，我遇到了行为艺术。 I have experienced a large number of liveperformances through my camera and sometimes I consider myself alive artist working withphotography.我已经通过我的相机经历了大量的现场表演，有时我觉得自己是一个活的艺术家与摄影工作。I adorethe conflicts and correspondences between the two art forms and Ibelieve it is possible to practice in an 'in-between area', ahybrid artform.我喜欢两种艺术形式之间的矛盾和信件，我相信这是可能的练习在“在中间区域'，一个混合的艺术形式。I'm alsoconscious of the power of the image and the possibility ofcommunicating without any need of formaltranslation.我也意识到了图像的力量，而不需要任何正式的翻译沟通的可能性。

JZ:In the 'Becoming an Image' project you have instantiated a seriesof collaborative actions that have resulted in some stunningimages.JZ：在“成为一个Image'你已经实例化了一系列合作行动，已经造成了一些令人惊叹的图像项目。Didyou have a certain idea of the kinds of 'image' that theparticipants were supposed to become?你是否也有多种“形象”的，与会者都应该成为某种想法？

MV: TheCollaborative Actions are the result of the Becoming an Imageworkshop. MV：该协作行动是成为一个影像工作室的结果。 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.在研讨会的第一部分，所有的参与者被要求齐心协力一些话题，个人绘图，报表，照片，正文，参考文献，等等...所有这些材料提供的基本成分为我们的行动。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.在研讨会期间，一个领导者和参与者之间我的角色摇摆......我当然知道，有时我输入有不同的权重，但我喜欢制作和材料，是不是我的反应。

JZ:What role did the instructions you gave to the participants servein in the project;JZ：你给了参与者的指示担任什么样的角色在项目; what were they aimed to do?什么是他们的目的是什么？

MV:During each workshop I have a really small amount of time to buildtrust and intimacy among the ：在各个车间我有一个非常少量的时间来建立参与者之间的信任和亲密感。 The instructions are practical recipes for mentaland physical actions.该指令是实用食谱精神和身体的动作。 The true fortune of digital photography as amedium is the possibility of obtaining quickresults.数码摄影为媒介的真正财富是获得立竿见影的效果的可能性。 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.在最初几天参加轰炸中，他们不得不自行聘用，以及与其他参与者的机构的任务。Theprocess requires commitment but the energy that follows isinvaluable.这个过程需要的承诺，但后面的能量是非常宝贵的。

JZ:Are photographs more than a record of what happened then in thisproject? JZ：是照片比什么在这个项目中发生了那么多的记录？Canwe go so far as to describe them as nonhuman participants of youractions? 我们能走这么远来形容他们为自己的行为的非人参与者？

MV: Ihope these images function as ：我希望这些图像作为代理人。 I hopethey trigger the imagination of the viewer, I hope they provokesensations, I hope they trigger futureactions.我希望他们引发观众的想象，我希望他们挑起的感觉，我希望他们引发未来的行动。Thebodies in these images are equal to the bodies of theviewer.在这些图像中的机构是等于观看者的身体。 I believe we can all identify with these imagesand look at them with an active spirit ofparticipation.我相信我们都可以找出与这些图像，并期待在他们参与的积极精神。

JZ:You highlight the notion of 'exchange' as shaping much of yourpractice, including this particular project.JZ：你强调的“交换”的概念作为塑造你的很多做法，包括这个特定的项目。 What kinds of risks and openings do you as anartist take in this kind of exchange?什么样的风险和开口的，你作为一个艺术家在这种交流的需要？

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 ：我为什么做这样的工作的原因是因为我确信我已经被污染了所有我的合作，发展到今天的艺术家的做法。When Iexchange with another artist I do expose my own practice to theinfluence of my collaborator'spractice.当我与另一位艺术家交流我暴露我自己的实践对我的合作者的做法的影响。Thestarting point of any collaboration is wiping out your expectationsand the same time establishing what you are not prepare tocompromise on.任何合作的出发点是消灭你的期望，并同时建立您没有准备什么妥协。Thebenefit of this process is to solidify the principles of yourpractice while new alterations can also beintroduced.这一过程的好处是可以巩固你实践的原则，同时新的变化，也可以出台。

JZ:What kinds of gifts did you receive from the participants in thisprocess of exchange?JZ：你从交换的过程的参与者收到什么样的礼物？ Were some of those gifts more unexpected thanothers? 是其中的一些礼物比其他人更意外的？

MV: Iwould describe as gifts all those magical memories and experiencesI collect during every ：我会形容为礼品所有这些神奇的记忆和经历各车间的时候，我收集。 Those gifts mark what I do, what I want to do andwhy.那些礼物庆祝我做什么，我想要做的和为什么。

JZ:I wanted to talk a little bit about the relationship betweenfacilitation and control, and thus between hospitality and violencein your collaborations.JZ：我想谈一点关于促进和控制之间的关系，从而好客和暴力在合作中之间。 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.这个问题是出在我自己的道德兴趣-我看到的一个开口到其他的异性，到他或她的/人性化，在让关系交换展现超越了道德主体的控制。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，任何伦理关系，即与他者的任何关系，始终是潜在着暴力-在这个意义上，可以有可能过分接近，太多的爱，太多的创造力，等等。为了使这种关系真正的道德，我们需要保持工作不争取消除暴力（因为这将是一个不可能的幻想），而是朝着什么样的法国和立陶宛的哲学家列维纳斯所谓的“好暴力”。Could you say a little about the roleviolence plays in your work?你可以说你的工作一点关于角色扮演的暴力？

MV: Idon't consider all violence as ：我不认为所有的暴力为阴性。 I thinkviolence is a human characteristic and, if repressed, can end upbecoming even moredangerous.我认为暴力是人类的特征，如果压抑，能最终成为更加危险。 I think we should introduce the positiveconnotations of violence, transgression andcontamination.我觉得我们应该引进的暴力，海侵和污染的积极内涵。 Collaborative relationships exist in a constantattraction/repulsion mode: the condition is always unbalanced evenif the aim is to reach the point of perfectequilibrium.存在于一个恒定的吸引/排斥模式的协作关系：该条件始终不平衡，即使其目的是要达到完美的平衡点。Thismechanism produces energy and if the energy is a channel towardssome creative output then I think it isbeneficial.这种机制产生的能量，如果能量是朝着一些有创意的输出通道，则我认为这是有益的。In facteven destruction can be beneficial.事实上甚至破坏可以是有益的。Iencourage diversity because I consider it closer to our intuitivebeing and in opposition to our rational inclination tocontrol.我鼓励多样性，因为我认为它更接近我们的直观感和反对我们的理性倾向控制。

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梦想与现实之间的磨合让我读懂很多生活的语言，风虽改变了方向，却没有改变我的行程-----

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